Tracing it backward, hubris is alienation from the "order of things" as prescribed by the gods. The state of sin in Western religion is traceable into categories of alienation that are manifested in acts against others welling over from impulses and emotions that are unassimilated into one's (sense of) being.
The writer with the most to offer in terms of alienation is not Marx, who discarded his early efforts to reground the overwrought philosophical systems of Hegel in favor of a critique of political economy, but rather Camus, who brings the concept back to a world that has already lost its moral/ethical compass due to the incursion of capitalism, colonialism, and totalitarianism. Those last two terms can be reapplied to describe the changing nature of working conditions for individuals based on the "luck of the draw" based on the circumstances of their birth, or their dedication to the principles of capital accumulation, or their inability to integrate their sense of beauty (and the longing that underpins all pursuits of it) with a world that exploits and destroys it.
You'll have to wait to experience the different overlays of "alienation systems" that can be applied to noir (or, more accurately, various theories of noir) as it reveals its protean nature. Those notions are boiled down to what we can trace in various sub-types of noir as it gets applied to specific story types. But if you are inclined, read THE MYTH OF SISYPHUS and see how the lack of a meaningful eschatology (formerly provided by Western religion) has created the roiling, absurd world that has played out over the past 150 years or so. Noir contains an ersatz eschatology that allows it to function as "trickle-down tragedy," but when that construction is ripped away by the intersection of absurdist existentialism (Camus, Sartre) and visions of cyclical depravity (Genet), noir's raison d'etre is stripped away from it and its subversive power is truncated.