Salamone, Frank A. "Jazz and Noir Film." Anthropos (Slovenia) 49.1/2 (2017): 143-157. [On the use of jazz in noir and noir influenced films and television shows of the 1950s.]
Sanchez Noriega, Jose Luis. "Psychoanalytical Culture in the American Film Noir." Journal of Medicine and Movies: Revista de Medicina y Cine (Salamanca, Spain) 4 (2008): 27-34.
Sanjek, David. "'Torment Street Between Malicious and Crude': Sophisticated Primitivism in the Films of Samuel Fuller." Literature Film Quarterly 22.3 (1994): 187-194. [On Pickup on South Street (1953)--repeatedly referred to as "Pickup on High Street"--The Crimson Kimono (1959), and the West German TV episode Tote Taube in der Beethovenstrasse (1973).]
Santos, Marlisa. "'These two pretty children/Flew away': Myth and Migration in The Night of the Hunter." South Atlantic Review 80.1/2 (2015): 82-95.
Sarat, Austin. "The Justice of Jurisdiction: The Policing and Breaching of Boundaries in Orson Welles' Touch of Evil." English Language Notes 48.2 (Fall-Winter 2010): 111-128.
Scheib, Ronnie. "Charlie's Uncle: Ronnie Scheib on Shadow of a Doubt." Film Comment 12.2 (March-April 1976): 55-62.
Scheibel, Will. "Working It: Gene Tierney, Laura, and Wartime Beautification." Camera Obscura 33.2 (2018): 160-195.
Scher, Saul N. "The Glass Key. The Original and Two Copies." Literature Film Quarterly 12.3 (1984): 147-159. [On the source novel and its 1935 and 1942 film adaptations.]
Schickel, Richard. "Rerunning Film Noir." Wilson Quarterly 31.3 (Summer 2007): 36-43. [A reconsideration of Paul Schrader's thesis that post-war American unease was a factor in the film noir phenomenon.]
Schleier, Merrill. "The Grid, the Spectacle and the Labyrinth in The Big Clock's Skyscraper: Queered Space and Cold War Discourse." Film Studies 20 (Winter 2007): 37-84.
Schlotterbeck, Jesse. "Killing Noir?: The Adaptation of Robert Siodmak's The Killers to Radio." Journal of Adaptation in Film and Performance 3.1 (2010): 59-70. [Compares the non-visual characteristics of The Killers (1946) with its radio drama adaptation for Screen Director's Playhouse (1948).]
--. "Non-Urban Noirs: Rural Space in Moonrise, On Dangerous Ground, Thieves' Highway, and They Live by Night." M/C Journal: A journal of Media and Culture 11.5 (October 2008): 1-9.
Schoonover, Karl. "The Cinema of Disposal: Max Ophuls and Accumulation in America." Differences: A Journal of Feminist Cultural Studies 29.1 (May 2018): 33-65. [With emphasis on The Reckless Moment (1949).]
Schrader, Paul. "Joseph H. Lewis." Cinema 7.1 (Fall 1971): 42-44. [On Gun Crazy (1950).]
--. "Notes on Film Noir." Film Comment 8.1 (Spring 1972): 8-13. [Seminal article in the film noir as genre debate.]
Schwager, Jeff. "The Past Rewritten." Film Comment 27.1 (January 1991): 12-17. [On the cobbling of the screenplay for Out of the Past (1947) by Daniel Mainwaring (first draft, credited as Geoffrey Homes), James M. Cain (uncredited), and Frank Fenton (final draft, uncredited).]
Schwob, Anneke. "Jack Finney and the Crisis of Self in 1950s America." Foundation 48.132 (2019): 66-79. [A re-reading through the lens of postwar paranoia of Invasion of the Body Snatchers (1956) and Finney's source novel.]
Scott, Adrian. "Some of My Worst Friends." The Screen Writer 3 (October 1947): 1-6. [The producer of Crossfire (1947) defends the film against contemporaneous criticism and touts the role of the film industry in the fight against prejudice.]
Scruggs, Charles. "The Depth of the Deep End: The Noir Motif in The Reckless Moment and The Deep End." Mosaic: An Interdisciplinary Critical Journal 37.1 (March 2004): 17-32.
--. "Out of the Black Past: The Image of the Fugitive Slave in Jacques Tourneur's Out of the Past." African American Review 44.1/2 (Spring-Summer 2011): 97-113.
--. "'The Power of Blackness': Film Noir and Its Critics." American Literary History 16.4 (Winter 2004): 675-687.
Shadoian, Jack. "America the Ugly: Phil Karlson's '99 River Street.'" Film Culture 53-55 (1972): 286-292.
Shaw, Daniel C. "Lang contra Vengeance: The Big Heat." The Journal of Value Inquiry 29 (December 1995): 533-545.
Shepler, Michael. "No Hollywood Ending: Cold War Film Noir." Political Affairs 83.5 (2004): 14-15. [On leftist politics in the film gris subgenre.]
Shillock, Larry T. "Neither Noir." West Virginia University Philological Papers 47 (2001): 44-55. [Re-examines Laura Mulvey's 1975 article "Visual Pleasure and Narrative Cinema" (Screen 16.3, pages 6-18) to bring new insights to Murder, My Sweet (1944) and Whispering City (1947).]
Shumway, David R. "Disciplinary Identities; Or, Why is Walter Neff Telling this Story?" symploke 7.1/2 (1999): 97-107.
Silva, Arturo. "Gun Crazy: Cinematic Amour Fou." Film Criticism 33.1 (Fall 2008): 1-24.
Silver, Alain. "Kiss Me Deadly: Evidence of a Style." Film Comment 11.2 (March-April 1975): 24-30.
Simons, John L., and Robert Merrill. "Razing Cain with Chandler and Wilder: The Prometheus-Pandora Myth in Double Indemnity." Texas Studies in Literature and Language 56.4 (Winter 2014): 349-375.
Singer, Marc P. "Fear of the Public Sphere: The Boxing Film in Cold War America (1947-1957)." Film & History: An Interdisciplinary Journal of Film and Television Studies 31.1 (May 2001): 22-27. [Emphasis on Body and Soul (1947), Champion (1949), and The Set-Up (1949).]
Sklar, Robert. "Ace in the Hole." Cineaste 33.2 (Spring 2008): 67-69.
Skwire, Daniel D. "Life, Death, and Insurance in Film Noir." Contingencies (May-June 2008): 28-34.
Smith, Imogen Sara. "The Fugitive Kind." Sight and Sound 25.5 (May 2015): 24-26. [On Cry of the City (1948).]
Smith, Jacob. "Tearing Speech to Pieces: Voice Technologies of the 1940s." Music, Sound, and the Moving Image 2.2 (Autumn 2008): 183-206. [On mid-century talking machines focusing on the use of the Sonovox in Possessed (1947) and A Letter to Three Wives (1949).]
Smith, Marvin. "Christmas Holiday." [phrase omitted] (Humanities Research, Mejiro University, Japan) 11 (2015): 203-216. [Revisits material on the Production Code and adapting W. Somerset Maugham's source novel for Robert Siodmak's 1944 film.]
--. "Leave Her to Heaven." [phrase omitted] (Humanities Research, Mejiro University, Japan) 10 (2014): 151-161. [On the 1945 film and its source novel.]
--. "No Way Out." [phrase omitted] (Humanities Research, Mejiro University, Japan) 6 (2010): 113-125.
--. "The Postman Always Rings Twice." [phrase omitted] (Humanities Research, Mejiro University, Japan) 4 (2008): 157-169. [On the process of adapting James M. Cain's source novel with Production Code approval for Tay Garnett's 1946 film.]
Smith, Murray. "Film Noir, The Female Gothic and Deception." Wide Angle 10.1 (1988): 62-75.
Smith, Richard. "The Sophist Body: Billy Wilder's The Lost Weekend and Plato's Phaedrus." Affirmations of the Modern 6.1 (Spring 2019): 45-72.
Smith, Robert E. "Mann in the Dark: The Films Noir of Anthony Mann." Bright Lights 2.1 (1976): 8-14, 30.
Snelson, Tim. "'From Grade B Thrillers to Deluxe Chillers': Prestige Horror, Female Audiences, and Allegories of Spectatorship in The Spiral Staircase (1946)." New Review of Film and Television Studies 7.2 (June 2009): 173-188.
Snyder, Scott. "Personality Disorder and the Film Noir Femme Fatale." Journal of Criminal Justice and Popular Culture 8.3 (2001): 155-168.
Sochen, June. "Mildred Pierce and Women in Film." American Quarterly 30.1 (Spring 1978): 3-20.
Solomon, Matthew. "Adapting 'Radio's Perfect Script': 'Sorry, Wrong Number' and Sorry, Wrong Number." Quarterly Review of Film and Video 16.1 (1997): 23-40.
Sonnet, Esther. "Why Film Noir? Hollywood, Adaptation, and Women's Writing in the 1940s and 1950s." Adaptation 4.1 (January 2011): 1-13. [Relies heavily on Daisy Kenyon (1947).]
Sorfa, David. "Seeing Oneself Speak: Speech and Thought in First-Person Cinema." JOMEC Journal 13 (2019): 102-121. [Derridean analysis of the failed use of first person camera in Lady in the Lake (1947) and Dark Passage (1947).]
Spiegel, Alan. "Seeing Triple: Cain, Chandler and Wilder on Double Indemnity." Mosaic: An Interdisciplinary Critical Journal 16.1/2 (Winter-Spring 1983): 83-101.
Spohrer, Markus. "Homophobia and Violence in Film Noir: Homosexuality as a Threat to Masculinity in John Huston's The Maltese Falcon." The Human: Journal of Literature and Culture 6 (June 2016): 56-71.
Steffen-Fluhr, Nancy. "Women and the Inner Game of Don Siegel's Invasion of the Body Snatchers." Science Fiction Studies 11.2 (July 1984): 139-153.
Steimatsky, Noa. "What the Clerk Saw: Face to Face with The Wrong Man." Framework: The Journal of Cinema and Media 48.2 (Fall 2007): 111-136. [On the narrative value of the shot/reverse shot technique Alfred Hitchcock utilizes to capture Henry Fonda's face in the 1956 film.]
Stern, Alexandra Minna, and Howard Markel. "The Public Health Service and Film Noir: A Look Back at Elia Kazan's Panic in the Streets (1950)." Public Health Reports 118.3 (May-June 2003): 178-183.
Sternfeld, Frederick W. "The Strange Music of Martha Ivers." Hollywood Quarterly 2.3 (April 1947): 242-251. [On Miklos Rosza's score for The Strange Love of Martha Ivers (1946).]
Stewart, Jenny. "'Can this hell perhaps be Jules Dassin's London, which is certainly not the London that belongs to you and me?' Critical Responses to Depictions of London in The Blue Lamp and Night and the City." Altre Modernit'a 20 (November 2018): 53-69.
Straw, Will. "Montreal and The Captive City." Quebec Studies 48 (Fall 2009-Winter 2010): 13-23. [On the Montreal premiere of The Captive City (1952) and its use in a municipal reform movement.]
Stubbs, John S. "The Evolution of Orson Welles's Touch of Evil from Novel to Film." Cinema Journal 24.2 (Winter 1985): 19-39. [See also "Terry Comito Replies to John Stubbs's 'The Evolution of Orson Welles's Touch of Evil from Novel to Film' (Cinema Journal, Winter 1985)."]
Studlar, Gaylyn. "Max Op(h)uls Fashions Femininity." Arizona Quarterly: A Journal of American Literature, Culture, and Theory 60.5 (Special Issue 2004): 65-86. [On Ophuls' use of costuming to construct "femininity" in Letter from an Unknown Woman (1948) and Caught (1949).]
Sundstrand, Jacquelyn K. "Searching for the Man from Medford, Oregon, in the Movie Double Indemnity." Journal of the West 45.1 (Winter 2006): 57-66.
Swift, William J., and Graham Cody. "Gilda: Fear and Loathing of the Exquisite Object of Relentless Desire." Gender and Psychoanalysis 3.3 (1998): 301-330.
Syamala, T. "Film Noir: Contribution of Raymond Chandler to American Cinema." Indian Journal of American Studies 25.2 (Summer 1995): 77-81.
Tamazaki, Yukari. "Timepieces and the Sense of Time in Film Noir." [phrase omitted] (Cultural and Scientific Research, Japan) 25.46 (2013): 1-12.
Taylor, Aaron. "Twilight of the Idols: Performance, Melodramatic Villainy, and Sunset Boulevard." Journal of Film and Video 59.2 (Summer 2007): 13-31. [On Gloria Swanson's performance as Norma Desmond.]
Teixeira, Antonio Joao. "Woman of the West: Genre, Gender, and Politics in Johnny Guitar." Revista Letras (Brazil) 78 (May-August 2009): 97-110.
Telotte, J. P. "The Big Clock of Film Noir." Film Criticism 14.2 (Winter 1990): 1-11. [On the importance of temporality and the clock as an icon in film noir.]
--. "The Call of Desire and The Film Noir." Literature Film Quarterly 17.1 (1989): 50-58. [On the telephone as a key image in film noir and its use in Detour (1945), Sorry, Wrong Number (1948), and The Blue Gardenia (1953).]
--. "A Consuming Passion: Food and 'Film Noir.'" The Georgia Review 39.2 (1985): 397-410.
--. "The Detective as Dreamer: The Case of The Lady in the Lake." Journal of Popular Film and Television 12.1 (1984): 4-15.
--. "The Displaced Voice of In a Lonely Place." South Atlantic Review 54.1 (January 1989): 1-12.
--. "Effacement and Subjectivity: Murder My Sweet's Problematic Vision." Literature Film Quarterly 15.4 (1987): 227-236.
--. "The Fantastic Realism of Film Noir: Kiss Me Deadly." Wide Angle 14.1 (1992): 4-18. [Written before the film's ending was restored.]
--. "Fatal Capers: Strategy and Enigma in Film Noir." Journal of Popular Film and Television 23.4 (1996): 163-170.
--. "Film Noir and the Dangers of Discourse." Quarterly Review of Film Studies 9.2 (Spring 1984): 101-112. [Public discourse in Nightmare Alley (1947), In a Lonely Place (1950), and The Big Carnival (a.k.a. Ace in the Hole 1951).]
--. "Film Noir and the Double Indemnity of Discourse." Genre 18.1 (Spring 1985): 57-73.
--. "Lost Memory and New Noir." Paradoxa 16 (2001): 177-189. [On construction of memory and identity in The Long Wait (1954) and Dark City (1998).]
--. "Narration, Desire, and a Lady from Shanghai." South Atlantic Review 49.1 (January 1984): 56-71.
--. "Outside the System: The Documentary Voice of Film Noir." New Orleans Review 14.2 (Summer 1987): 55-63.
--. "Seeing in a Dark Passage." Film Criticism 9.2 (Winter 1984): 15-27.
--. "Self-Portrait: Painting and the Film Noir." Smithsonian Studies in American Art 3.1 (Winter 1989): 3-17.
--. "Siodmak's Phantom Women and Noir Narrative." Film Criticism 11.3 (Spring 1987): 1-10.
--. "Talk and Trouble: Kiss Me Deadly's Apocalyptic Discourse." Journal of Popular Film and Television 13.2 (1985): 69-79.
--. "Tangled Networks and Wrong Numbers." Film Criticism 10.3 (Spring 1986): 36-48. [On narrative in Sorry, Wrong Number (1948).]
Thomas, Adam. "T Killed Him for the Money': The American Dream in Billy Wilder's Double Indemnity." Opticon 1826 6 (Spring 2009): 1-11.
Thomas, Deborah. "Film Noir: How Hollywood Deals with the Deviant Male." CineAction 13/14 (1988): 18-28.
Thomson, David. "At the Acme Book Shop." Sight and Sound 50.2 (Spring 1981): 122-125. [On The Big Sleep (1946).]
--. "A Child's Demon." Sight and Sound 9.4 (April 1999): 20-22. [On The Night of the Hunter (1955) and its source novel.]
--. "A Cottage at Palos Verdes." Film Comment 26.3 (May 1990): 16-21. [On Criss Cross (1949).]
--. "Dead Lily." Film Comment 33.6 (November-December 1997): 16-19. [On Kiss Me Deadly (1955), its two endings, and its noir credentials.]
--. "Junior." Film Comment 31.5 (September 1995): 3-6. [On the performance of Elisha Cook, Jr. in The Maltese Falcon (1941), Phantom Lady (1944), The Big Sleep (1946), and The Killing (1956).]
Tirohl, Blu. "Forensic Photography, Film Noir, and Fellig: Scenes Excavated by the Night Prowler." Photography & Culture 5.2 (July 2012): 135-148.
Toles, George. "Film Death and the Failure to Signify: The Curious Case of Warni Hazard." New Review of Film and Television Studies 15.2 (June 2017): 211-230. [On Red Light (1949).]
--. "The Forgotten Lighter and Other Moral Accidents in Strangers on a Train." Raritan 28.4 (Spring 2009): 111-137.
--. "The Gift of Amnesia in John Brahm's The Locket." Film International 7.6 (December 2009): 32-55.
--. "Shades of Green Mourning in John M. Stahl's Leave Her to Heaven." Film International 15.2 (June 2017): 69-85.
Trbic, Boris. "A Thousand Avenues, Dark, Seedy and Glistening with Evening Rain: Revisiting Paul Schrader's 'Notes on Film Noir.'" Screen Education (Melbourne, Australia) 37 (2005): 62-68.
Trowbridge, Katelin. "The War between Words and Images--Sunset Boulevard." Literature Film Quarterly 30.4 (2002): 294-303.
Turim, Maureen. "Fictive Psyches: The Psychological Melodrama in 40s Films." boundary 2 12.3/13.1 (Spring-Autumn 1984): 321-331. [Deconstructive analysis of John Brahm's The Locket (1946).]
Tyrer, Ben. "Film Noir as Point de Capiton: Double Indemnity, Structure and Temporality." Film-Philosophy 17.1 (2013): 96-114. [Lacanian theory.]
Utterson, Andrew. "Crossing Lines: The Sound of the Border in Orson Welles's Touch of Evil (1958)." Quarterly Review of Film and Video 32.5 (2015): 426-436.
Van Wert, William F. "Compositional Psychoanalysis: Circles and Straight Lines in 'Spellbound.'" Film Criticism 3.3 (Spring 1979): 41-47.
Varmazi, Eleni, and Sirin Fulya Erensoy. "Chiaroscuro Alleys, Psychological No-Way-Outs and Urban Space in Classic Film Noir." Ileti-s-im, Galatasaray University Journal of Communication 27 (December 2017): 181-195.
Vernet, Marc. "The Filmic Transaction: On the Openings of Film Noirs." Translated by David Rodowick. Velvet Light Trap 20 (Summer 1983): 2-9.
Wadia, Rashna. "So Many Fragments, So Many Beginnings, So Many Pleasures: The Neglected Detail(s) in Film Theory." Criticism 45.2 (Spring 2003): 173-195. [A Barthesian reading of The Maltese Falcon (1941).]
Wager, Jans B. "The Big Heat." Bright Lights Film Journal 14 (1995): 23-26. [On "the thematic importance of family in Fritz Lang's 1953 film.]
--. "Jazz and Cocktails: Reassessing the White and Black Mix in Film Noir." Literature Film Quarterly 35.3 (2007): 222-228.
Walker, Deborah. "Re-reading the Femme Fatale in Film Noir: An Evolutionary Perspective." Journal of Moving Image Studies 4 (2007): 1-25.
Walker, Janet. "Feminist Critical Practice: Female Discourse in Mildred Pierce." Film Reader 5 (1982): 164-172.
Walker, Michael. "Hawks and Film Noir: The Big Sleep." CineAction 13/14 (1988): 29-39.
Walsh, Michael. "Out of the Past: The History of the Subject." Enclitic (Double Film Issue) 5.2/6.1 (Fall 1981-Spring 1982): 6-16. [Lacanian theory.]
Walton, Breana. "Techniques Used to Establish the First Person Narrator and Perspective in Double Indemnity and Murder, My Sweet." Arsenal: The Undergraduate Research Journal of Augusta University 1.2 (2017): 23-29.
Warren, Denise. "Out of the Past: Semiotic Configurations of the Femme Fatale in Film Noir." Interdisciplinary Journal for Germanic Linguistics and Semiotic Analysis 2.2 (1997): 221-255.
Wasserman, Tina. "Phantom Bodies: The Missing People and Empty Streets of Film Noir." Quarterly Review of Film and Video 31.7 (2014): 611-620.
Watter, Seth. "Close-Ups and Curlicues: Female Neurosis in Two Films by Anatole Litvak." Camera Obscura 30.3 (2015): 92-127. [The Snake Pit (1948) and Sorry, Wrong Number (1948).]
Weales, Gerald. "The Police Revolver as Deus ex Machina." The Quarterly of Film Radio and Television 7.2 (Winter 1952): 203-209. [On Detective Story (1951).]
Wegner, Hart. "From Expressionism to Film Noir: Otto Preminger's Where the Sidewalk Ends." Journal of Popular Film and Television 11.2 (1983): 56-65.
Weiss, Julie. "Feminist Film Theory and Women's History: Mildred Pierce and the Twentieth Century." Film & History: An Interdisciplinary Journal of Film and Television Studies 22.3 (September 1992): 74-87.
Weiss, Nathan Norman. "Spiders in His Mind." Hollywood Quarterly 3.2 (Winter 1947-1948): 189-191. [On The Woman on the Beach (1947).]
Weiden, Brooklynn A. "Motherhood the Inescapable: Portraying the Entrepreneurial Mother in American Film--Biological Essentialism, Patriarchy/ Androcentrism and Gender Polarization, in Mildred Pierce and Baby Boom." Journal of Alternative Perspectives in the Social Sciences 2.2 (2010): 614-630.
Welsch, Tricia. "Sound Strategies: Lang's Rearticulation of Renoir." Cinema Journal 39.3 (Spring 2000): 51-65. [Sound design in Scarlet Street (1945) and La Chienne (1931) contrasted.]
Welsh, J. M. "Knockout in Paradise: An Appraisal of The Set-Up." American Classic Screen 2.6 (July-August 1978): 14-16.
--. "Mildred Pierce Reshaped." Literature Film Quarterly 11.1 (1983): 66-68.
West, Nancy, and Penelope Pelizzon. "Snap Me Deadly: Reading the Still Photograph in Film Noir." American Studies 43.2 (Summer 2002): 73-101.
Wexman, Virginia Wright. "Kinesics and Film Acting: Humphrey Bogart in The Maltese Falcon and The Big Sleep." Journal of Popular Film and Television 7.1 (1978): 42-55.
--. "The Transfer from One Medium to Another: The Maltese Falcon from Fiction to Film." The Library Quarterly 45.1 (January 1975): 46-55. [On the three film adaptations of Dashiell Hammett's source novel.]
Whitney, John S. "A Filmography of Film Noir." Journal of Popular Film 5.3/4 (1976): 321-371.
Wiebe, Joshua Harold. "My Name is Julia Ross and I am a Recovering Film Noir." Mise-en-scene: The Journal of Film & Visual Narration 4.1 (Spring 2019): 83-90.
Wild, Florianne. "Rewriting Allegory with a Vengeance: Textual Strategies in Fritz Lang's Rancho Notorious." Mosaic: An Interdisciplinary Critical Journal 35.3 (September 2002): 25-38.
Wildermuth, Mark. "Cultural Trauma in the American Security Regime: James Agee's Cinematic Criticism and The Night of the Hunter." The Journal of Popular Culture 47 (2014): 1314-1326.
Williams, Linda. "Feminist Film Theory: Mildred Pierce and the Second World War." Female Spectators: Looking at Film and Television 13 (1988): 12-30.
Williams, Tony. "Contextualizing The Stranger." Film International 14.2 (June 2016): 21-42.
--. "The Imagery of Surveillance: In a Lonely Place." CineAction 87 (2012): 14-20.
--. "The Lady from Shanghai." Film International 15.1 (March 2017): 67-84.
--. "Phantom Lady, Cornell Woolrich, and the Masochistic Aesthetic." CineAction 13/14 (1988): 56-63.
Williamson, Catherine. "'You'll See It Just as I Saw It': Voyeurism, Fetishism, and the Female Spectator in Lady in the Lake." Journal of Film and Video 48.3 (Fall 1996): 17-29.
Willis, Elizabeth. "Christina Rossetti and Pre-Raphaelite noir." Textual Practice 18.4 (Winter 2004): 521-540. [The use of Rossetti and the function of poetry in Kiss Me Deadly (1955).]
Wilmington, Mike. "Nicholas Ray on the Years at RKO." Velvet Light Trap 10 (Fall 1973): 54-55. [In an interview Ray discusses his dealings with Howard Hughes and Harry Cohn, and the making of In a Lonely Place (1950).]
--. "Nicholas Ray: The Years at RKO Part One." Velvet Light Trap 10 (Fall 1973): 46-53. [On themes introduced in They Live by Night (1948) and their treatment in Knock on Any Door (1949), A Woman's Secret (1949), and Born to Be Bad (1950).]
--. "Nicholas Ray: The Years at RKO Part Two." Velvet Light Trap 11 (Winter 1974): 35-40. [On On Dangerous Ground (1952) with nods to They Live by Night (1948) and In a Lonely Place (1950).]
--. "Nicholas Ray's Johnny Guitar." Velvet Light Trap 12 (Spring 1974): 19-25.
Wissner, Reba. "I Am Big, It's the Pictures That Got Small: Sound Technologies and Franz Waxman's Scores for Sunset Boulevard (1950) and The Twilight Zone's 'The Sixteen-Millimeter Shrine' (1959)." Journal of Film Music 7.1 (2014): 77-92.
Wollen, Peter. "Foreign Relations, Welles and Touch of Evil." Sight and Sound 6.10 (October 1996): 20-23.
Wood, Bret. "Kiss Hollywood Goodbye: Orson Welles and The Lady from Shanghai." Video Watchdog 23 (May-July 1994): 40-53.
Wood, Robin. "Creativity and Evaluation: Two Film Noirs of the Fifties." CineAction 21 (1990): 4-20. [Reflections inspired by The Big Heat (1953) and Kiss Me Deadly (1955).]
--. "Plunging off The Deep End into The Reckless Moment." Cine Action 59 (2002): 14-19.
Worland, Rick. "Before and After the Fact: Writing and Reading Hitchcock's Suspicion." Cinema Journal 41.4 (Summer 2002): 3-26.
Young, Paul. "(Not) The Last Noir Essay: Film Noir and the Crisis of Postwar Interpretation." The Minnesota Review 55-57 (2002): 203-221. [On film noir scholarship.]
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