Naremore, James. "American Film Noir: The History of an Idea." Film Quarterly 49.2 (December 1995): 12-28. [On early writing about film noir.]
--. "John Huston and The Maltese Falcon." Literature Film Quarterly 1.3 (1973): 239-249.
--. "Straight Down the Line: Making and Remaking Double Indemnity." Film Comment 32.1 (January 1996): 22-31.
Negri, Sabrina. "I Saw, Therefore I Know? Alfred Hitchcock's The Wrong Man and the Epistemological Potential of the Photographic Image." Film Criticism 41.1 (February 2017): 1-15.
Nelson, Joyce. "'Mildred Pierce' Reconsidered." Film Reader 2 (1977): 65-70.
Neve, Brian." The Hollywood Left: Robert Rossen and Postwar Hollywood." Film Studies 7 (Winter 2005): 54-65. [On the end of Rossen's Warner Bros, contract and his involvement in the production of The Strange Love of Martha Ivers (1946), Johnny O'Clock (1947), Body and Soul (1947), and All the King's Men (1949).]
--. "Working-Class Noir in the Blacklist Era: The Making of Cy Endfield's The Sound of Fury." Cineaste 40.2 (Spring 2015): 23-29. [Also released as Try and Get Me (1950).]
Newland, Christina Marie. "Archetypes of the Southern Gothic: The Night of the Hunter and Killer Joe." Film Matters 5.1 (Spring 2014): 33-38.
Newman, Dillan. "Censorship: Representations of Justice in James M. Cain Adaptations." Film Matters 6.3 (Winter 2015): 28-33. [On the effects of the Production Code on the film adaptation of Double Indemnity (1944).]
Norton, Diana. "Bodies, Ink, Shoes: Scandalous Objects from the 1947 Gilda Premiere in Spain." Arizona Journal of Hispanic Cultural Studies 22 (2018): 109-126.
O'Brien, Catherine M. "'Love, What Have You Done to Me?' Eros and Agape in Alfred Hitchcock's I Confess." Journal of Religion & Film 18.1 (2014): 1-39.
O'Brien, Daniel Paul. "Hap-Tech Narration and the Postphenomenological Film." Philosophies 4.3 (2019): 1-28. [On the subjective gaze of a killer and first person point-of-view cinematography in Dark Passage (1947), Peeping Tom (1960), and Le Scaphandre et le Papillon (2007).]
O'Donoghue, Darragh. "Gun Crazy." Cineaste 43.4 (Fall 2018): 60-62.
--. "Night and the City." Cineaste 41.1 (Winter 2015): 65-66.
Olivier, Bert. "The Logic of Noir and the Question of Radical Evil." Film and Philosophy 8 (2004): 122-137.
Orozco, Wilson. "The Patterning of Obsessive Love in Lolita and Possessed." Miranda (France) 15 (2017): 1-14.
Orr, Christopher. "Cain, Naturalism and Noir." Film Criticism 25.1 (Fall 2000): 47-64. [On Double Indemnity (1944), The Postman Always Rings Twice (1946), their remakes and source novels.]
--. "Genre Theory in the Context of the Noir and Post-Noir Film." Film Criticism 22.1 (Fall 1997): 21-37. [On problems in genre theory illustrated through Out of the Past (1947), Angel Face (1952), and Against All Odds (1984).]
--. "The Trouble with Harry: On the Hawks Version of The Big Sleep." Wide Angle 5.2 (1982): 66-71.
Orr, John. "Californian Noir: Is It European?" Film International 4.5 (October 2006): 6-17. [On the European influence on noir and neo-noir films set in California locations.]
Osteen, Mark. "The Big Secret: Film Noir and Nuclear Fear." Journal of Popular Film and Television 22.2 (Summer 1994): 79-90.
--. "Dark Mirrors: Sanctuary's Noir Vision." The Faulkner Journal 28.1 (Spring 2014): 11-35. [Doubling in film noir through the lens of William Faulkner's novel Sanctuary.]
--. "Face Plates: T-Men and the Problem of Noir Counterfeiting." Quarterly Review of Film and Video 24.2 (2007): 125-142.
--. "Framed: Forging Identities in Film Noir." Journal of Film and Video 62.3 (Fall 2010): 17-35.
--. "Noir's Cars: Automobility and Amoral Space in American Film Noir." Journal of Popular Film and Television 35.2 (Winter 2008): 183-192.
Paletz, Gabriel M. "Orson Welles: An Auteur of the Thriller." New Review of Film and Television Studies 4.3 (December 2006): 217-239. [On The Stranger (1946), The Lady from Shanghai (1948), Mr. Arkadin (1955), and Touch of Evil (1958).]
Palmer, Bryan D. "Night in the Capitalist, Cold War City: Noir and the Cultural Politics of Darkness." Left History 5.2 (1997): 57-76.
Palmer, James W. "In a Lonely Place: Paranoia in the Dream Factory." Literature Film Quarterly 13.3 (1985): 200-207. Minor correction in Literature Film Quarterly 14.1 (1986): 9.
Palmer, R. Barton. "The Divided Self and the Dark City: Film Noir and Liminality." symploke 15.1/2 (2007): 66-79.
--. "Film Noir and the Genre Continuum: Process, Product, and The Big Clock." Persistence of Vision 3/4 (Summer 1986): 51-60.
--. "The Politics of Genre in Welles' The Stranger." Film Criticism 9.2 (Winter 1984): 2-14.
Parsi, Novid. "Projecting Heterosexuality, Or What Do You Mean by 'It.'" Camera Obscura 13.2 (May 1996): 161-186. [On sexuality in Gilda (1946).]
Patell, Cyrus R. K. "Screen Memory: A Great Detective and a Lousy Cop." Harvard Review 4 (Spring 1993): 26-30. [On Touch of Evil (1958).]
Paul, William. "Off the Deep End Far from Heaven: Social Topography in The Reckless Moment." Arizona Quarterly: A Journal of American Literature, Culture, and Theory 60.5 (Special Issue 2004): 43-63.
--. "The Reckless Moment." Film Comment 7.2 (Summer 1971): 65-66. [On Max Ophuls' 1949 film.]
Pease, Donald E. "Borderline Justice/States of Emergency: Orson Welles' Touch of Evil." CR: The New Centennial Review 1.1 (2001): 75-105.
Pechter, William, and Abraham Polonsky. "Abraham Polonsky and Force of Evil." Film Quarterly 15.3 (Spring 1962): 47-54.
Pelizzon, V. Penelope, and Nancy M. West. "'Good Stories' from the Mean Streets: Weegee and Hard-Boiled Autobiography." The Yale Journal of Criticism 17.1 (2004): 20-50. [A case for a major and often overlooked influence on the film noir canon.]
--. "Multiple Indemnity: Film Noir, James M. Cain, and Adaptations of a Tabloid Case." Narrative 13.3 (October 2005): 211-237.
--. "'A Perfect Double Down to the Last Detail': Photography and the Identity of Film Noir." Post Script: Essays in Film and the Humanities 22.3 (Summer 2003): 34-45.
Perez-Pamies, Daniel, and Marta Lopera-Marmol. "Buoying Corpses Up: A Journey between Sunset Blvd. (1950) and Twin Peaks (1990-2017)." Comparative Cinema (Barcelona, Spain) 7.13 (2019): 55-66.
Peterson, Jennifer. "The Front Lawn of Heaven: Landscape in Hollywood Melodrama circa 1945." Camera Obscura 25.2 (2010): 118-159. [Landscape as a melodramatic device in Leave Her to Heaven (1945).]
Pettengell, Michael. "The Expanding Darkness: Naturalistic Motifs in Hard-Boiled Detective Fiction and the Film Noir." Clues: A Journal of Detection 12.1 (Spring-Summer 1991): 43-55.
Pettey, Homer B. "Topographic Economies in Dassin's Thieves' Highway." Film Criticism 33.2 (Winter 2008): 44-65.
Phillips, Gene D. "Kubrick, Killer's Kiss, The Killing, and Film Noir." American Classic Screen 4.3 (Spring 1980): 13-18.
Pichel, Irving. "Revivals, Reissues, Remakes, and 'A Place in the Sun.'" The Quarterly of Film Radio and Television 6.4 (Summer 1952): 388-393. [On George Stevens' 1951 film as both a remake of An American Tragedy (1931) and a new adaptation of Theodore Dreiser's source novel.]
Pidgeon, Austin. "The Lady from Shanghai: A Reworking of the Noir Standard." Interdisciplinary Humanities 33.1 (Spring 2016): 98-110.
Pippin, Robert. "Agency and Fate in Orson Welles's The Lady from Shanghai." Critical Inquiry 37.2 (Winter 2011): 214-244.
--. "Philosophical Film: Trapped by Oneself in Jacques Tourneur's Out of the Past." New Literary History 41.3 (July 2010): 517-548.
Pitukova, Veronika. "Clash of Desires: Detective vs. Femme Fatale." Journal of Arts and Humanities 1.1 (2012): 25-32. [On The Maltese Falcon (1941), Murder My Sweet (1944), Out of the Past (1947), and their source novels.]
Place, J. A., and L. S. Peterson. "Some Visual Motifs of Film Noir." Film Comment 10.1 (January-February 1974): 30-35.
Platte, Nathan. "Music for Spellbound (1945): A Contested Collaboration." The Journal of Musicology 28.4 (Fall 2011): 418-463.
Poague, Leland. "Detecting Happiness: Chandler, Hawks and The Big Sleep (Again)." Australian Screen Education 32 (Spring 2003): 122-126.
Polan, Dana B. "Blind Insights and Dark Passages: The Problem of Placement in Forties Film." Velvet Light Trap 20 (Summer 1983): 27-33. [On the political history of narrative by comparing Pride of the Marines (1945) and Dark Passage (1947).]
--. "College Course File: Film Noir." Journal of Film and Video 37.2 (Spring 1985): 75-83. [Survey essay designed to be used as the text for a 10-unit course.]
Polito, Robert. "Detour (VIII): Some Detours to Detour." LIT: The journal of The New School Master of Fine Arts in Creative Writing Program 13 (Fall 2007): 144-161. [On Detour's source novel by Martin M. Goldsmith and studied myth-busting on Edgar G. Ulmer and the making of Detour (1945).]
Ponder, Anne. "The Big Sleep." The Armchair Detective 17.2 (Spring 1984): 171-174. [Argues The Big Sleep (1946) should be categorized as a romance because of its structure.]
Porfirio, Robert G. "No Way Out: Existential Motifs in the Film Noir." Sight and Sound 45.4 (Autumn 1976): 212-217.
--. "Whatever Happened to the Film Noir? The Postman Always Rings Twice (1946-1981)." Literature Film Quarterly 13.2 (1985): 102-111.
Potgieter, Zelda. "Lacan's Three Orders, the Graphe Complet and Music in Film: The Case of Hitchcock's Spellbound." Communicare: Journal for Communication Sciences in Southern Africa 26.1 (July 2007): 1-26.
Potterton, Michael. "A Lonely Place: Gender Relations and Hybridization of In a Lonely Place." Film Matters 2.1 (Spring 2011): 26-29. [An attempt to frame Nicholas Ray's 1950 film as a film noir/ screwball comedy hybrid.]
Poyato Sanchez, Pedro. "An Essay on Subjectivity in Hollywood: Dark Passage (Delmer Daves, 1947) and its Assimilation of Avant-Garde Features." L'Atalante: Revista de Estudios Cinematograficos (Valencia, Spain) 27 (2019): 91-104.
Prigozy, Ruth. "Double Indemnity: Billy Wilder's Crime and Punishment." Literature Film Quarterly 12.3 (1984): 160-170.
Pritts, Nate. "The Dingus and the Great Whatsit: Motivating Strategies in Cinema." The Midwest Quarterly 47.1 (September 2005): 68-80. [Narrative motivation in The Maltese Falcon (1941) and Kiss Me Deadly (1955).]
Pruitt, Scott. "A Bird's Eye View: Visual Narrative of The Maltese Falcon." MacGuffin Film Journal 3 (2011): 11-16. [With comparisons to Citizen Kane (1941).]
Pye, Douglas. "Running Out of Places: Fritz Lang's Clash by Night." CineAction 52 (2000): 12-17.
--. "Seeing by Glimpses: Fritz Lang's The Blue Gardenia." CineAction 13/14 (1988): 74-82.
Rabinowitz, Paula. "Domestic Labor: Film Noir, Proletarian Literature, and Black Women's Fiction." MFS Modern Fiction Studies 47.1 (Spring 2001): 229-254.
Radell, Karen Marguerite. "Orson Welles: The Semiotics of Focalization in The Lady from Shanghai." The Journal of Narrative Technique 22.2 (Spring 1992): 97-104.
Raeburn, Anna, and Martin Shingler. "Joan Crawford and Star Acting in Mildred Pierce." Screen 54.3 (Autumn 2013): 388-396.
Raths, Louis E., and Frank N. Trager. "Public Opinion and Crossfire." Journal of Educational Sociology 21.6 (February 1948): 345-368.
Recchia, Edward. "Dark Victories: Film Noir and the Boxing Film." Aethlon 13.1 (Fall 1995): 19-28.
--. "Film Noir and the Western." The Centennial Review 40.3 (Fall 1996): 601-614.
Renov, Michael. "Leave Her to Heaven: The Double Bind of the Post-War Woman." Journal of the University Film and Video Association 35.1 (Winter 1983): 28-36.
--. "Raw Deal: The Woman in the Text." Wide Angle 6.2 (1984): 18-22.
Reyes, Carlos V. "Film Noir's Dark Secret or What Does the Hysteric Want?" Canadian Journal of Film Studies 19.1 (Spring 2010): 75-88. [On the confluences between Gothic melodrama and film noir as demonstrated through The Dark Mirror (1946) and Secret Beyond the Door (1948).]
Richards, Rashna Wadia. "Loose Ends: The Stuff that Movies Are Made of." Arizona Quarterly: A Journal of American Literature, Culture, and Theory 63.4 (Winter 2007): 83-118. [On objects and narrative in The Maltese Falcon (1941).]
Ripley, Dore. "Reviving Noir: An Interview with Eddie Muller." Interdisciplinary Humanities 33.1 (Spring 2016): 77-83.
Robbins, Ben. "Inscrutable Images and Cultural Migrations: Wartime Noir and the Compson Appendix." The Faulkner Journal 28.1 (Spring 2014): 55-77. [On shifts in the author's film noir screenwriting in the wake of his 1945 "Compson appendix."]
--. "The Pragmatic Modernist: William Faulkner's Craft and Hollywood's Networks of Production." Journal of Screenwriting 5.2 (June 2014): 239-257. [Analysis of Faulkner's contributions to the screenplays for To Have and Have Not (1944) and Mildred Pierce (1945).]
Roberts, John W. "The Paradox and Argument for Marriage and Family in the Film Noir." Philologia (Japan) 48 (2017): 69-76.
--. "Survival versus Salvation: The Conflicting Visions of Welles and Hitchcock." The Midwest Quarterly 32.2 (Winter 1991): 197-210. [Touch of Evil (1958) and North by Northwest (1959).]
Robertson, Pamela. "Camping Under Western Stars: Joan Crawford in Johnny Guitar." Journal of Film and Video 47.1-3 (Spring-Fall 1995): 33-49.
--. "Structural Irony in Mildred Pierce, Or How Mildred Lost Her Tongue." Cinema Journal 30.1 (Fall 1990): 42-54.
Rollins, Brooke. "'Some Kind of a Man': Orson Welles as Touch of Evil's Masculine Auteur." Velvet Light Trap 57 (Spring 2006): 32-41.
Rosenbaum, Jonathan, Orson Welles, and Peter Bogdanovich. "Orson Welles' Memo to Universal: Touch of Evil." Film Quarterly 46.1 (Autumn 1992): 2-11.
Rosenberg, Norman. "Looking for Law in All the Old Traces: The Movies of Classical Hollywood, the Law, and the Case(s) of Film Noir." UCLA Law Review 48 (2000): 1443-1471. [A look at representations of law in film noir with special attention paid to The Big Sleep (both 1945 and 1946) and Force of Evil (1948).]
Rothman, William. "Alfred Hitchcock's Notorious." The Georgia Review 29.4 (1975): 884-927. [On Hitchcockian framing.]
Rozgonyi, Jay. "The Making of Double Indemnity." Films in Review 41.6/7 (June-July 1990): 339-345.
Ruhmann, Lony, Steven Schwartz, and Rob Conway. "Gun Crazy, 'The accomplishment of many, many minds': An Interview with Joseph H. Lewis." Velvet Light Trap 20 (Summer 1983): 16-21.
Rushton, Richard. "The Psychoanalytic Structure of Trauma: Spellbound." Journal for Cultural Research 8.3 (2004): 371-384. [On Spellbound (1945) and Hulk (2003).]
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