If film studies as a field of academic endeavor has 2-3 top journals, that's the best way to go to correct these issues that you and Dan Hodges are raising, based upon my experience. I've sat on a university-wide committee that made recommendations to the provost and president on every promotion, and journal articles are the predominant means of assessing research. But no case ever came through from the Department of Media Studies, so I'm unfamiliar with the field.
However, Wikipedia lists 18 film studies journals at this time: https://en.wikipedia.org/wiki/Category:Film_studies_journals
It's not hard to go through them and discern quality. Maybe their impact is surveyed somewhere. If my library has e-access, I can read their issues easily, which I may do a bit when I finish reading "Fire and Fury".
I do think that both you and Dan have contributions to make that should be heard in venues like journals where they'd affect the dominant paradigms. The French and spy films both enrich the field and scope of noir viewing greatly, as do those from some other lands.
Yes, there is a difference between jazz and noir. Before 1920, the music became identified by a name, first jass and then jazz. https://en.wikipedia.org/wiki/Original_Dixieland_Jass_Band
Noir cannot make such a claim in France and in 1932, can it? But maybe in the material of that time and place there lurk descriptions or reviews that are tantamount to recognition of the newness present in those films.
Furthermore, where jazz was distinctly recognizable as compared with the ragtime it breaks with, were these early films similarly recognizable as distinct?
Jazz proceeded by expanding its language, harmonically, rhythmically and emotionally. How did noir proceed?