Compromising positions: Theorizing American neo-noir film
Abstract
This study examines a loose-knit genre of mystery thrillers produced every year between 1966 and 1996, defined as neo-noir movies. Whereas much work has been published on classic film noirs, produced between 1940 and 1958, little criticism has been written about the newer films. The first chapter provides a theoretical analysis and critique of the general history of film genre and noir study and is followed by three chapters that read specific neo-noir films from a cultural perspective. Black thrillers reveal key aspects of neo-noir, and issues of black masculinity, female beauty, and race relations are all emphasized in these movies. White mystery thrillers compare well with classic film noirs and examine issues of masculinity, social class, and viewing practices since post-classic Hollywood production and reception. White female noirs are examined in terms of gender differences, female roles in traditionally male parts, and in the idea of women as professional crime fighters or criminals. Together, these four chapters reveal that neo-noir films study black signatures, feminine ecritures, and fresh cultural imprints on neo-noirs. The final chapter argues the need to teach neo-noir by delineating recent theories of postmodern pedagogy and providing a syllabus from a sample course.
Degree
Ph.D.
Advisors
Deutelbaum, Purdue University.
Subject Area
Motion Pictures|American studies
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