As a new edition of the NC e-zine makes its appearance, we're reminded how that publication has drifted further and further away from any rapprochement with academic writing about noir in the past nine years. That is not altogether a bad thing, as the academics are by no means faultless in their approach to the subject.

That said, a selected compendium of the secondary literature produced by academics is a worthy endeavor, and an impressive effort to do just that is available on the Internet at The Free Library. We reproduce it here as a safety measure in case something should happen to the link in subsequent years.

There are more than 600 entries here, which are still only a subset of the secondary materials that have been published on noir. Note: no books here, only articles in journals. Also note: this bibliography focuses exclusively on American noir.

Authors with surnames A-G can be found in this post: H-M, N-R, and S-Z follow in the adjacent posts. Happy browsing!

Abbott, Megan E. "'Nothing You Can't Fix': Screening Marlowe's Masculinity." Studies in the Novel 35.3 (Fall 2003): 305-324.

Abramson, Leslie H. "Two Birds of a Feather: Hammett's and Huston's The Maltese Falcon." Literature Film Quarterly 16.2 (1988): 112-118.

Acosta Bustamante, Leonor. "Disabled Masculinity as a Metaphor of National Conflict in the Cold War Era: Orson Welles' The Lady from Shanghai (1947)." Revista de Estudios Norteamericanos (Seville, Spain) 23 (2019): 1-22.

Afnan, Elham. "Imaginative Transformations: Great Expectations and Sunset Boulevard." The Dickensian 94.1 (Spring 1998): 5-12. [On Charles Dickens' novel Great Expectations as inspiration for the films Great Expectations (1946) and Sunset Boulevard (1950).]

Allen, Richard. "Brushing Classical Hollywood Narrative Against the Grain of History." Camera Obscura 6.3 (September 1988): 137-145. [Critiques Dana Polan's methodology as presented in his Power and Paranoia: History, Narrative and the American Cinema, 1940-1950 (New York: Columbia UP, 1986) with respect to film noir criticism.]

Allyn, John. "Double Indemnity: A Policy that Paid Off." Literature Film Quarterly 6.2 (1978): 116-124.

Andrew, Dudley. "Film Noir: Death and Double Cross Over the Atlantic." IRIS (Paris, France) 21 (Spring 1996): 21-30. [Compares post-war American film noir with pre-war European cinema.]

Appel, Alfred, Jr. "Dark Cinema and Lolita." Film Comment 10.5 (September-October 1974): 25-31. [Compares film noir with Vladimir Nabokov's Lolita.]

--. "Fritz Lang's American Nightmare." Film Comment 10.6 (November 1974): 12-17. [On The Woman in the Window (1944).]

Arthur, Paul. "Film Noir as Primal Scene." Film Comment 32.5 (September-October 1996): 77-79 [On The Window (1949).]

--. "Los Angeles as Scene of the Crime." Film Comment 32.4 (July-August 1996): 21-26. [On the use of Los Angeles as setting in several noir films of the classic period and some later twentieth century films.]

--. "Noir Happens: Paul Arthur on Fred Zinnemann's Act of Violence." Film Comment 35.4 (July-August 1999): 56-58.

Asheim, Lester. "The Film and the Zeitgeist." Hollywood Quarterly 2.4 (July 1947): 414-416. [Reaction to John Houseman's two 1947 articles criticizing the post-war appearance of hard-boiled films (See Houseman below, Hollywood Quarterly 2.2 and Vogue 109.2.]

Athanasourelis, John Paul. "Film Adaptation and the Censors: 1940s Hollywood and Raymond Chandler." Studies in the Novel 35.3 (Fall 2003): 325-338.

Atkinson, Michael. "Noir and Away." Bright Lights Film Journal 15 (1995): 30-35. [On Detour (1945) and its 1992 remake.]

Auerbach, Jonathan. "Noir Citizenship: Anthony Mann's Border Incident." Cinema Journal 47.4 (Summer 2008): 102-120.

Avila, Eric. "Popular Culture in the Age of White Flight: Film Noir, Disneyland, and the Cold War (Sub)Urban Imaginary." Journal of Urban History 31.1 (November 2004): 3-22. [Uses film noir and Disneyland to expose structural and cultural transformations in mid-century American urban life.]

Bannon, Barbara M. "Double, Double: Toil and Trouble." Literature Film Quarterly 13.1 (1985): 56-65. [On Hitchcock's use of doubling in Shadow of a Doubt (1943) and Strangers on a Train (1951).]

Barth, Daniel. "Faulkner & Film Noir." Bright Lights Film Journal 12 (Spring 1994): 18-22. [On William Faulkner as a literary antecedent to film noir as well as a part-time screenwriter.]

Bauer, Stephen F. "Oedipus Again: A Critical Study of Charles Laughton's The Night of the Hunter." Psychoanalytic Quarterly 68 (1999): 611-636.

Baxter, John. "Something More Than Night." Film Journal 2.4 (1975): 4-9. [On the pulp fiction that was the source material for Hollywood films of the Thirties, Forties, and Fifties, and what got lost in adaptation.]

Beckham, Jack M., II. "Border Policy/Border Cinema: Placing Touch of Evil, The Border, and Traffic in the American Imagination." Journal of Popular Film and Television 33.3 (Fall 2005): 130-441.

Beebe, John. "The Notorious Postwar Psyche." Journal of Popular Film and Television 18.1 (Spring 1990): 28-35. [A Jungian psychoanalyst's take on Hitchcock's Notorious (1946).]

Belton, John. "Film Noir's Knights of the Road." Bright Lights Film Journal 12 (Spring 1994): 5-15. [Ironic subversion of the tramp myth in film noir.]

Benaquist, Lawrence. "Function and Index in Huston's The Maltese Falcon." Film Criticism 6.2 (Winter 1982): 45-50. [Barthesian theory.]

Benson, Edward. "Decor and Decorum from La chienne to Scarlet Street: Franco-U.S. Trade in Film During the Thirties." Film & History: An Interdisciplinary Journal of Film and Television Studies 12.3 (September 1982): 57-65.

Berg, Sandra. "When Noir Turned Black." Written By: The Journal of the Writers Guild of America 10.8 (November 2006): 34-39. [Interview with Jules Dassin on his life, the blacklist, and the making of The Naked City (1948), Thieves' Highway (1949), Night and the City (1950), Rififi (1955), and Never on Sunday (I960).]

Bergman, Mark. "'This Will Happen To Your Kids Too'." Velvet Light Trap 8 (Spring 1973): 20-22. [On the history of illegal gambling and prostitution in Phenix City, Alabama, and The Phenix City Story (1955).]

Bergstrom, Janet. "Oneiric Cinema: The Woman on the Beach." Film History 11.1 (1999): 114-125.

Bernstein, Matthew. "Institutions and Individuals: Riot in Cell Block 11." Velvet Light Trap 28 (Fall 1991): 3-31.

--. "A Tale of Three Cities: The Banning of Scarlet Street." Cinema Journal 35.1 (Fall 1995): 27-52.

Biesen, Sheri Chinen. "Bogart, Bacall, Howard Hawks and Wartime Film Noir at Warner Bros.: To Have and Have Not and The Big Sleep." Popular Culture Review 13.1 (2002): 35-51.

--. "Censoring and Selling Film Noir." Between 5.9 (2015): 1-22. [Research on censorship versus marketing from archived primary source documents.]

--. "Censorship, Film Noir, and Double Indemnity." Film & History: An Interdisciplinary Journal of Film and Television Studies 25.1/2 (1995): 40-52.

--. "Flags a la Noir: Reframing Patriotism in the Post-War Films of Fred Zinnemann." Film Criticism 43.4 (2019): 17-20. [On the director's use of the flag in Act of Violence (1949) and From Here to Eternity (1953).]

--. "Joan Harrison, Virginia Van Upp and Women Behind-the-Scenes in Wartime Film Noir." Quarterly Review of Film and Video 20.2 (2003): 125-144.

--. "Joseph H. Lewis and the Changing Noir Vision of American Culture from Gothic Heroines to Cold War Gangsters." Interdisciplinary Humanities 33.1 (Spring 2016): 63-76.

--. "Raising Cain with the Censors Again: The Postman Always Rings Twice (1946)." Literature Film Quarterly 28.1 (2000): 41-48.

Biskind, Peter. "'They Live By Night' by Daylight." Sight and Sound 45.4 (Autumn 1976): 218-222. [Critique of Nicholas Ray.]

Booth, Philip. "Hemingway's 'The Killers' and Heroic Fatalism: From Page to Screen (Thrice)." Literature Film Quarterly 35.1 (2007): 404-411.

Boozer, Jack. "The Lethal Femme Fatale in the Noir Tradition." Journal of Film and Video 51.3/4 (Fall-Winter 1999): 20-35. [The femme fatale in noir, neo-noir, and post-noir films.]

Bordino, Alex W. "Tabloids, Film Noir, and the Fragmentation of Form and Character in Double Indemnity and The Naked City." Mise-en-scene: The Journal of Film & Visual Narration 2.1 (Spring 2017): 24-40.

Boudin, Suzanne. "Women in Prison Movies as Feminist Jurisprudence." Canadian Journal of Women and the Law 21.1 (June 2009): 19-34. [Argues Caged (1950) is the quintessential women's prison reform movie.]

Brackett, Charles. "A Matter of Humor." The Quarterly of Film Radio and Television 7.1 (Autumn 1952): 66-69. [Response to Herbert G. Luft's "A Matter of Decadence" in the same issue.]

Bregent-Heald, Dominique. "Dark Limbo: Film Noir and the North American Borders." Journal of American Culture 29.2 (June 2006): 125-138.

Brewer, Gay. "Raymond Chandler Without His Knight: Contracting Worlds in The Blue Dahlia and Playback." Literature Film Quarterly 23.4 (1995): 273-278. [On the author's two original screenplays, one never produced.]

Brinckmann, Christine Noll. "The Politics of Force of Evil: An Analysis of Abraham Polonsky's Preblacklist Film." Prospects: An Annual of American Cultural Studies 6 (1981): 356-386.

Brinton, Joseph R, III. "Subjective Camera or Subjective Audience?" Hollywood Quarterly 2.4 (July 1947): 359-366. [On Lady in the Lake (1947).]

Broe, Dennis. "Class, Crime, and Film Noir: Labor, the Fugitive Outsider, and the Anti-Authoritarian Tradition." Social Justice 30.1 (2003): 22-41.

--. "Class, Labor, and the Home-Front Detective: Hammett, Chandler, Woolrich, and the Dissident Lawman (and Woman) in 1940s Hollywood and Beyond." Social Justice 32.2 (2005): 167-185.

--. "Genre Regression and the New Cold War: The Return of the Police Procedural." Framework: The Journal of Cinema and Media 45.2 (Fall 2004): 81-101. [On police procedurals in the early 1950s and the contemporary return of the form.]

Bronfen, Elisabeth. "Femme Fatale: Negotiations of Tragic Desire." New Literary History 35.1 (Winter 2004): 103-116. [Uses the Phyllis Dietrichson character from Double Indemnity (1944) as a tragic prototype.]

Brown, Daniel. "Wilde and Wilder." PMLA 119 (2004): 1216-1230. [Oscar Wilde's Salome through Billy Wilder's Sunset Boulevard (1950).]

Bruzzi, Stella. "Dressing Mildred Pierce: Costume and Identity across the Ages." Screen 54.3 (Autumn 2013): 397-402. [Compares and analyzes costume design in Mildred Pierce (1945) and the 2011 cable miniseries.]

Buchsbaum, Jonathan. "Tame Wolves and Phony Claims: Paranoia and Film Noir." Persistence of Vision 3/4 (Summer 1986): 35-47.

Buford, Kate. "Do Make Waves: Sandy." Film Comment 30.3 (May 1994): 41-43. [Interview with Alexander "Sandy" Mackendrick on Sweet Smell of Success (1957).]

Buhler, Stephen M. "The Psychology of Teen Hamlets: Edgar G. Ulmer's Strange Illusion." Quarterly Review of Film and Video 28.4 (2011): 353-361.

Burns, William F. "Scream to Screen: The Philosophical and Aesthetic Origins of Film Noir." Interdisciplinary Humanities 33.1 (Spring 2016): 11-32.

Bywater, William. "The Visual Pleasure of Patriarchal Cinema: Welles' Touch of Evil." Film Criticism 14.3 (Spring 1990): 27-38.

Cameron, Ed. "The Film Noir Doppelganger: Alienation, Separation, Anxiety." Interdisciplinary Humanities 33.1 (Spring 2016): 33-47.

Caputo, Raffaele. "Film Noir: 'You Sure You Don't See What You Hear?"' Continuum: Journal of Media & Cultural Studies 5.2 (1992): 276-301. [On style and sensibility in the film noir as genre debate.]

Carabias Martin, Florencia. "Threat of Plagues: Panic in the Streets (1950)." Journal of Medicine and Movies (Spain) 2 (2006): 89-95.

Carey, Gary. "Caught." Film Comment 7.2 (Summer 1971): 62-64. [On Max Ophuls' 1949 film.]

Carlucci, Fernando Valenzuela. "Gender and Perspective in Scarlet Street." Revista PHILIA: Filosofia Literatura & Arte (Brazil) 1.2 (2019): 297-318.

Carson, Sean. "Film Noir Heroes and the American Dream: Examining Contradictions in American Ideology through Fred Zinnemann's Act of Violence." Film Matters 10.1 (Spring 2019): 16-25.

Castille, Philip Dubuisson. "Compson and Sternwood: William Faulkner's 'Appendix' and The Big Sleep." Post Script: Essays in Film and the Humanities 13.3 (Summer 1994): 54-61. [On Faulkner's work on the screenplay and what it has in common with his 1945 appendix to his 1929 novel The Sound and the Fury.]

Castro, Arlindo. "Notorious: Hitchcock's Good Neighbor Film." Ilha do Desterro (Brazil) 39 (2000): 29-47.

Cattrysse, Patrick. "Descriptive and Normative Norms in Film Adaptation: The Hays Office and the American Film Noir." Cinemas: Revue d'Etudes Cinematographiques/ Journal of Film Studies 6.2/3 (Spring 1996): 167-188.

--. "Film (Adaptation) as Translation: Some Methodological Proposals." Target: International Journal of Translation Studies 4.1 (January 1992): 53-70. [Applies polysystem translation theories to the study of noir film adaptations of the 1940s and 1950s.]

Cavallero, Jonathan J. "Hitchcock and Race: Is the Wrong Man a White Man?" Journal of Film and Video 62.4 (Winter 2010): 3-14.

Cetiner-Oktem, Zuleyha. "The Apocalyptic Chronotope in "Farewell to the Master" and The Day the Earth Stood Still." Mediterranean Journal of Humanities 9.1 (2019): 113-126. [On Robert Wise's 1951 film, its source material, and its 2008 remake.]

Chin, Christina. "The Homme Fatale: Transgressing Normative Behavior and the Loss of Masculinity." Aleph: UCLA Undergraduate Research Journal for the Humanities and Social Sciences 12 (2015): 29-46. [Deviant masculinity in Double Indemnity (1944), Laura (1944), Gilda (1946), Criss Cross (1949), and Gun Crazy (1950).]

Chopra-Gant, Mike. "Absent Fathers and 'Moms,' Delinquent Daughters and Mummy's Boys: Envisioning the Postwar American Family in Hitchcock's Notorious." Comparative American Studies 3.3 (2005): 361-375.

Christianson, Eric S. "The Big Sleep: Strategic Ambiguity in Judges 4-5 and in Classic Film Noir." Biblical Interpretation 15 (2007): 519-548.

Chung, Hye Jean. "Vocal Women in Detour and Raw Deal: Narrative Gaps and the Female Voice in Film Noir." Yongmi Munhak P'eminijum/Feminist Studies in English Literature 21.3 (2013): 61-83.

Ciocia, Stefania. "Lost in Cinematic Translation: The 'Soft-Boiled' Housewife in The Blank Wall and American Gender Politics after WWII." Literature Film Quarterly 43.3 (2015): 170-187. [Compares The Reckless Moment (1949) with its source novel.]

Civille, Michael. "'Ain't Got No Chance': The Case of The Breaking Point." Cinema Journal 56.1 (Fall 2016): 1-22.

Clark, Claire. "Bill W. Goes to Hollywood: The Rise and Fall of Recovering Addiction Experts." Journal of Medical Humanities 32.2 (2011): 89-102. [On the nascent disease theory of alcoholism in relation to The Lost Weekend (1945) and Smash-Up, the Story of a Woman (a.k.a. A Woman Destroyed 1947).]

Clarke, Declan. "Explain Nothing: How Uncertainty Freed The Big Sleep." Film International 11.5 (October 2013): 16-21.

Coady, Christopher. "AfroModernist Subversion of Film Noir Conventions in John Lewis' Scores to Sait-on Jamais (1957) and Odds Against Tomorrow (1959)." Musicology Australia 34.1 (July 2012): 1-31. [Includes detailed soundscape breakdowns for each film.]

Cohen, Elliot E. "Letter to the Movie-Makers: The Film Drama as a Social Force." Commentary 4 (August 1947): 110-118. [Criticism of Crossfire (1947) as counter-propaganda against anti-Semitism from a contemporaneous Jewish perspective.]

Cohen, Mitchell S. "Villains and Victims." Film Comment 10.6 (November 1974): 27-29. [On changes in acting style and technique in the noir cycle.]

Colpaert, Lisa. "Costume on Film: How the Femme Fatale's Wardrobe Scripted the Pictorial Style of 1940s Film Noir." Studies in Costume & Performance 4.1 (June 2019): 65-84.

Colvin, J. Brandon. "Cuing Deception through Performance in 1940s Hollywood Cinema." Projections: The Journal for Movies and Mind 9.2 (Winter 2015): 1-19. [On how the actors present deception cues for the audience in Out of the Past (1947) and Secret Beyond the Door (1948).]

Comito, Terry. "Terry Comito Replies to John Stubbs's 'The Evolution of Orson Welles's Touch of Evil from Novel to Film (Cinema Journal, Winter 1985).'" Cinema Journal 24.3 (Spring 1985): 65-67. [Criticism of Stubbs' "The Evolution of Orson Welles's Touch of Evil from Novel to Film" with Stubbs' reply.]

Conley, Tom. "Border Incidence." sytnploke 15.1/2 (2007): 100-114. [Geographical and cinematic borders in Border Incident (1949).]

--. "Locations of Film Noir." Cartographic Journal 46.1 (February 2009): 16-23. [Maps and mapping in The Killers (1946) and The Crooked Way (1949).]

--. "Stages of Film Noir." Theatre Journal 39.3 (October 1987): 347-363. [Theoretical comparison of theater and film noir.]

--. "Writing Scarlet Street." MLN 98.5 (1983): 1085-1120.

Cooke, Grayson. "We Had Faces Then: Sunset Boulevard and the Sense of the Spectral." Quarterly Review of Film and Video 26.2 (2009): 89-101.

Cooper, Stephen. "Sex/Knowledge/Power in the Detective Genre." Film Quarterly 42.3 (Spring 1989): 23-31. [On The Maltese Falcon (1941), The Big Heat (1953), Chinatown (1974), and Angel Heart (1987).]

Copenhafer, David. "Overhearing (in) Touch of Evil and The Conversation: From 'Real Time' Surveillance to its Recording." Sound Studies 4.1 (2018): 2-18.

Corber, Robert J. "Joan Crawford's Padded Shoulders: Female Masculinity in Mildred Pierce." Camera Obscura 21.2 (2006): 1-31.

Cossar, Harper. "The Revenge of the Repressed: Homosexuality as Other in The Killing." Quarterly Review of Film and Video 22.2 (2005): 145-154.

--. "'Wait, how did I miss that?': Understanding the 'twist' in Fritz Lang's The Woman in the Window." Quarterly Review of Film and Video 26.1 (2009): 10-19.

Coughlin, Paul. "A Blueprint for Noir: The Maltese Falcon." Screen Education (Melbourne, Australia) 57 (2010): 105-110.

Coursen, David. "Closing Down the Open Road: Detour." Movietone News 48 (February 1976): 16-19.

Crago, Ezekiel. "Advocating Incredulity: Orson Welles, Film Noir, and the Suspension of Belief." Interdisciplinary Humanities 33.1 (Spring 2016): 123-135.

Crain, Mary Beth. "The Ox-Bow Incident Revisited." Literature Film Quarterly 4.3 (1976): 240-248.

Crane, David. "Projections and Intersections: Paranoid Textuality in Sorry, Wrong Number." Camera Obscura 17.3 (September 2002): 70-113.

Crewe, David. "Cherchez la Femme: The Evolution of the Femme Fatale." Screen Education (Melbourne, Australia) 80 (2016): 16-25. [The femme fatale in noir, neo-noir, and post-neo-noir films.]

Crossley, Laura. "Indicting Americana: how Max Ophuls exposed the American Dream in Caught (1949) and The Reckless Moment (1949)." Studies in European Cinema 11.2 (2014): 116-125.

Cutshaw, Debbie. "Decisions in Darkness: Noir Influence in The Naked Spur (1953)." the quint 3.4 (September 2011): 57-73.

Damico, James. "Film Noir: A Modest Proposal." Film Reader 3 (1978): 48-57. [On the film noir as genre debate.]

Dang, Qun. "Gender Roles and the Institution of Family: A Cultural Interpretation of Double Indemnity (1944)." Canadian Social Science 15.4 (2019): 77-82.

Danks, Adrian. "Bogarting the Joint: Ways of Reading Howard Hawks' The Big Sleep." Australian Screen Education 33 (Spring 2003): 137-142.

Dator, Robert Kenneth. "Film Musings: Not Necessarily Noir." Film International 12.1 (March 2014): 130-134. [Considers whether several films should or should not be regarded as noir.]

Davidson, Michael. "Phantom Limbs: Film Noir and the Disabled Body." GLQ: A Journal of Lesbian and Gay Studies 9.1/2 (2003): 57-77.

Davis, J. Madison. "A Chat with Eddie Muller, TCM's 'Czar of Noir.'" World Literature Today 93.3 (Summer 2019): 10-12.

Davis, Jessica. "Empty Spaces and Backward Glances: Edgar Ulmer's Detour and the Exilic Experience." Kino: The Western Undergraduate Journal of Film Studies 3 (2012): 1-7.

Davis, John. "The Tragedy of Mildred Pierce." Velvet Light Trap 6 (Fall 1972): 27-30.

--. "The Unsuspected." Velvet Light Trap 5 (Summer 1972): 21-24. [On the 1947 film directed by Michael Curtiz with some comparisons to Laura (1944) and other noir films.]

De Rosa, Ryan. "Historicizing the Shadows and the Acts: No Way Out and the Imagining of Black Activist Communities." Cinema Journal 51.3 (Spring 2012): 52-73.

Dean, Joan F. "Sunset Boulevard: Illusion and Dementia." Revue Francaise d'Etudes Americaines 19 (1984): 89-98.

Dellolio, Peter J. "Expressionist Themes in Strangers on a Train." Literature Film Quarterly 31.4 (2003): 260-269.

Deutelbaum, Marshall. "'The Birth of Venus' and The Death of Romantic Love in Out of the Past." Literature Film Quarterly 15.3 (1987): 190-197.

--. "Costuming and the Color System of Leave Her to Heaven." Film Criticism 11.3 (Spring 1987): 11-20.

--. "Leonora's Place: The Spatial Logic of Caught." Arizona Quarterly: A Journal of American Literature, Culture, and Theory 60.5 (Special Issue 2004): 87-95.

Deutsch, Adolph. "Three Strangers." Hollywood Quarterly 1.2 (January 1946): 214-223. [On the process of scoring Jean Negulesco's Three Strangers (1946).]

Dick, Bernard F. "Columbia's Dark Ladies and the Femmes Fatales of Film Noir." Literature Film Quarterly 23.3 (1995): 155-162.

Dickstein, Morris. "The Hardboiled Imagination: From Detective Fiction to Film Noir." Culturefront (Fall 1999): 4-8, 69-75. [How Depression Era fiction fit Post-war Hollywood.]

--. "Sunset Boulevard." Grand Street 7.3 (Spring 1988): 176-184.

Dimendberg, Edward. "City of Fear: Defensive Dispersal and the End of Film Noir." ANY: Architecture New York 18 (1997): 14-17. [City of Fear (1959) and changing urban space in the 1950s.]

--. "Down These Seen Streets a Man Must Go: Siegfried Kracauer, 'Hollywood's Terror Films,' and the Spatiality of Film Noir." New German Critique: An Interdisciplinary Journal of German Studies 89 (Spring-Summer 2003): 113-143.

--. "From Berlin to Bunker Hill: Urban Space, Late Modernity, and Film Noir in Fritz Lang's and Joseph Losey's M." Wide Angle 19.4 (1997): 62-93.

--. "Kiss the City Goodbye." Lusitania: A Journal of Reflection & Oceanography 7 (Spring 1996): 56-66. [Mid-century changes in urban space through locations in Killer's Kiss (1955) and Kiss Me Deadly (1955).]

Dinerstein, Joel. "'Emergent Noir': Film Noir and the Great Depression in High Sierra (1941) and This Gun for Hire (1942)." Journal of American Studies 42.3 (December 2008): 415-448.

Dittmar, Linda. "From Fascism to the Cold War: Gilda's 'Fantastic' Politics." Wide Angle 10.3 (1988): 4-18.

Dixon, Wheeler Winston. "Act of Violence and the Early Films of Fred Zinnemann." Film Criticism 18.3/19.1 (Spring-Fall 1994): 30-45.

Doane, Mary Ann. "Caught and Rebecca: The Inscription of Femininity as Absence." Enclitic (Double Film Issue) 5.2/6.1 (Fall 1981-Spring 1982): 75-89.

--. "The Clinical Eye: Medical Discourses in the 'Woman's Film' of the 1940s." Poetics Today 6.1/2 (1985): 205-227.

--. "Gilda: Epistemology as Striptease." Camera Obscura 4.2 (Fall 1983): 6-27.

Doherty, Thomas. "Detour." Cineaste (Summer 2019): 56-58.

Dorfman, Richard. "D.O.A. and the Notion of Noir." Movietone News 48 (February 1976): 11-16.

Doss, Erika L. "Edward Hopper, Nighthawks, and Film Noir." Post Script: Essays in Film and the Humanities 2.2 (Winter 1983): 14-36.

Douglas, J. Yellowlees. "American Friends and Strangers on Trains." Literature Film Quarterly 16.3 (1988): 181-190. [Compares Strangers on a Train (1951) to The American Friend (1977).]

Dromm, Keith. "The Facts Before Our Eyes: Wittgenstein and the Film Noir Investigator." Film-Philosophy 171 (2013): 1-18.

Durgnat, Raymond. "Duel in the Sun (1946)." Film Comment 9.5 (September-October 1973): 17-29.

--. "Paint It Black: The Family Tree of the Film Noir." Cinema 6/7 (August 1970): 48-56. [Seminal article in the film noir as genre debate.]

Dussere, Erik. "Out of the Past, Into the Supermarket: Consuming Film Noir." Film Quarterly 60.1 (Fall 2006): 16-27.

Dyer, Richard. "Homosexuality and Film Noir." Jump Cut: A Review of Contemporary Media 16 (1977): 18-21.

Edelman, Lee. "Plasticity, Paternity, Perversity: Freud's Falcon, Huston's Freud." American Imago 51.1 (Spring 1994): 69-104. [Oedipal implications of Walter Huston's uncredited appearance in John Huston's The Maltese Falcon (1941).]

Edelman, Lee and Joseph Litvak. "Two Much: Excess, Enjoyment, and Estrangement in Hitchcock's Strangers on a Train." GLQ: A Journal of Lesbian and Gay Studies 25.2 (2019): 297-314.

Ellis, Katie. "Ass-Kicked by Fate: Existential Motifs in The Maltese Falcon." Screen Education (Melbourne, Australia) 53 (2009): 151-155.

Elsaesser, Thomas. "A German Ancestry to Film Noir? Film History and its Imaginary." IRIS (Paris, France) 21 (Spring 1996): 129-144.

Ewing, Dale E., Jr. "Film Noir: Style and Content." Journal of Popular Film and Television 16.2 (Summer 1988): 60-69.

Farber, Stephen. "Violence and the Bitch Goddess." Film Comment 10.6 (November 1974): 8-11. [On the linking of violence and success in films of the 1940s and early 1950s.]

Farish, Matthew. "Cities in Shade: Urban Geography and the Uses of Noir." Environment and Planning D: Society and Space 23.1 (February 2005): 95-118. [Historical representation of post-war American cities through several films of the classic noir cycle and Chinatown (1974).]

Fearing, Franklin. "The Screen Discovers Psychiatry." Hollywood Quarterly 1.2 (January 1946): 154-158. [On the misrepresentation of psychopathology in Spellbound (1945) and Love Letters (1945).]

Filanti, Rita. "Image, Word and Echo: Voice-over Narration in The Postman Always Rings Twice (1946)." Palimpsestes (France) 30 (2017): 116-130.

Filipcevic Cordes, Vojislava. "The Agitated City: Urban Ambiguity and New York's Noir Metropolis." Quarterly Review of Film and Video 35.4 (2018): 372-396. [Analysis exemplified in Force of Evil (1948).]

Fine, David. "From Berlin to Hollywood: Echoes of Expressionism in Fritz Lang's The Woman in the Window and Scarlet Street." Literature Film Quarterly 35.4 (2007): 282-293.

Fisher, Morgan. "The Last Shot in Detour and Some Earlier Moments." Cinema Scope 38 (Spring 2009): 70-80.

Flinn, Carol. "Sound, Woman and the Bomb: Dismembering the 'Great Whatsit' in Kiss Me Deadly." Wide Angle 8.3 (1986): 115-127.

Flinn, Tom. "The Big Heat and The Big Combo: Rogue Cops and Mink-Coated Girls." Velvet Light Trap 11 (Winter 1974): 23-28.

--. "Out of the Past." Velvet Light Trap 10 (Fall 1973): 38-43.

--. "Screenwriter Daniel Mainwaring Discusses Out of the Past." Velvet Light Trap 10 (Fall 1973): 44-45.

--. "Three Faces of Film Noir." Velvet Light Trap 5 (Summer 1972): 11-16. [On Stranger on the Third Floor (1940), Phantom Lady (1944), and Criss Cross (1949).]

Flitterman-Lewis, Sandy. "To See and Not to Be: Female Subjectivity and the Law in Hitchcock's Notorious." Literature and Psychology 33.3/4 (1987): 1-15.

Fluck, Winfried. "Crime, Guilt, and Subjectivity in Film Noir." Amerikastudien/ American Studies 46.3 (2001): 379-408.

Folks, Jeffrey J. "James Agee's Filmscript for The Night of the Hunter." The Southern Quarterly 33.2 (1995): 151-159.

Ford, Phil. "Jazz Exotica and the Naked City." Journal of Musicological Research 27.2 (2008): 113-133. [Jazz inflected film scoring in the 1950s and 1960s with attention paid to The Big Combo (1955) and Touch of Evil (1958).]

Forter, Greg. "Going Straight with Gilda." Qui Parle 4.2 (Spring 1991): 8-22.

Forth, Christopher E. "'Nobody Loves a Fat Man': Masculinity and Food in Film Noir." Men and Masculinities 16.4 (2013): 387-406.

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