Appendix: International Film Noir Classic Period (Selected Titles)

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French pre- and post-war film noir

1930 La petite Lise

1931 Autour d’un enquête Dainah la métisse La Chienne Tumultes

1933 La Rue sans nom La Tête d’un homme

1934 Toni Le Roi des Champs-Élysées

1935 La Bandera Le Crime de Monsieur Lange Crime et châtiment Le Golem

190 International Film Noir Classic Period 191

1936 Les Bas-fonds La Belle équipe Le Chemin de Rio Jenny Pépé le Moko

1937 L’Affaire Lafarge L’Alibi

1938 La Bête humaine L’Étrange Monsieur Victor Hôtel du Nord Le Quai des brumes

1939 Le Dernier tournant Le Jour se lève Pièges

1941 Remorques

1943 Lumière d’été

1946 Panique Les Portes de la nuit

1948 Au-delà des grilles Pattes blanches

1950 Manon 192 Appendix

1953 Thérèse Raquin

British film noir

1936 The Thirty Nine Steps

1939 I Met a Murderer

1942 Went the Day Well?

1945 Waterloo Road

1947 Brighton Rock It Always Rains on Sunday Nicholas Nickleby Night Beat Temptation Harbour They Made Me a Fugitive

1948 Blanche Fury Fallen Idol Good-Time Girl No Orchids for Miss Blandish The October Man So Evil My Love

1949 The Third Man The Spider and the Fly Whiskey Galore International Film Noir Classic Period 193

1950 Night and the City The Blue Lamp

1951 The Lavender Hill Mob Pool of London

1952 The Flanagan Boy (US title Bad Blonde) The Gambler and the Lady The Last Page (US title Man Bait) Stolen Face

1954 House Across the Lake (US title Heat Wave) Murder by Proxy (US title Blackout)

1955 Footsteps in the Fog Impulse

1957 Hell Drivers

1958 The Long Haul

1960 The Criminal Hell is a City

Italian film noir

1942 Ossessione Nothing New Tonight (Stasera niente di nuovo) Trucks in the Fog (Fari nella nebia) 194 Appendix

1945 The Witness (Il Testimone )

1946 The Bandit (Il Bandito) Opium Fumes (La fumeria d’oppio) Tragic Pursuit (Cacchia tragica)

1948 Bitter Rice (Riso amaro) Cocaine (Una lettera all’alba) Without Pity (Senza pietà)

1949 In the Name of the Law (In Nome della legge) Lost Youth (Gioventù perduta)

1950 The Outlaws (I Fuorilegge) Story of a Love Affair (Cronaca di un amore)

1951 Attention Bandits (Achtung! Banditi!) The Path to Hope (La città si difende) Flying Brigades (Il bivio) You Saved My Daughter (Lebbra bianca)

1952 White Slave Trade (La tratta delle bianche) The City Stands Trial (Processo alla città) The Vanquished (I Vinti)

1954 The Stranger’s Hand (La mano dello straniero)

1958 The Challenge (La Sfida) International Film Noir Classic Period 195

1961 Salvatore Guiliano

1963 Hands Over the City (Le Mani sulla città)

Japanese film noir

1933 Everyday Dreams

1948 Drunken Angel The Day Our Lives Shine Women of the Night

1949 Stray Dog

1950 Lady From Hell Street of Violence

1951 Beyond Hate

1952 Violence

1953 Mr. Poo

1954 Gutter

1956 I Saw The Killer Street of Shame 196 Appendix

Black River Suzaki Paradise: Red Light Darkness at Noon

1957 The Lower Depths I Am Waiting The Stakeout (a.k.a. The Chase)

1958 Rusty Knife Red Quay

1960 The Bad Sleep Well Intimidation Take Aim at the Police Van

1961 Pigs and Battleships Greed in Broad Daylight

1963 High and Low Notes

Introduction: Global Fugitives – Outside the Law and the Cold War ‘Consensus’

1. For ‘protection’ as in protection racket as the subtext of ‘defense’ pacts, see the discussion by Giovanni Arrighi (2009) in the Introduction of Adam Smith in Beijing (London: Verso). 2. The cotton industry analysis was performed by Luxembourg in a post- humously published manuscript titled Introduction to Political Economy (Van der Linden 2010 p. 370). 3. The transitoriness of the sea figures prominently in noirs of the 1930s and 1940s, from Gabin’s consistent longing to leave the port city he finds himself trapped in (Le Havre in Le Quai des brumes, Genoa in Au-delà des grilles), to Welles’s itinerant sailor, a citizen of the world, in Lady From Shanghai (1948). 4. For the contemporary use of 3D as a tool of Hollywood dominance, see my (2011) ‘The Film Festival as Site of Resistance: Pro or Cannes?,’ Situations: Project of the Radical Imagination, Special Issue ‘Global Cinema: Cinema Engage or Cinema Commerciale?,’ Vol. IV, Issue I, 33–52. 5. The Hays Code was partly instituted to standardize product so that individual states’ censorship boards would not be blocking films from opening. The code itself also facilitated Hollywood being seen as a family enterprise, with the commercial reasoning being that the whole family attending the films of a now cleaned-up industry would be far better for ticket sales than individual attendance (L. Leff and J. Simmons [1990] The Dame in the Kimono: Hollywood, Censorship, & The Production Code From The 1920s To The 1960s (New York: Grove Weidenfeld). 6. This impact continues into the present. For a treatment of the global impact, see a special section of Positif on Le Neorealisme, which consid- ers the movement’s influence on 1960s British ‘Free’ and ‘Kitchen Sink’ Cinema and Brazil’s Cinema Nuovo as well as on contemporary Korean and Iranian Cinema ( July–August 2013, 4–71). 7. See my ‘Class, Labor and the Homefront Detective: Hammett, Chandler, Woolrich and the Dissident Lawman (And Woman) in ’40s Hollywood and Beyond,’ Social Justice, Fall 2005. 8. Not to mention the wartime combination of social realism and American noir in Visconti’s adaptation of James M. Cain’s The Postman Always Rings Twice, Ossessione (1941), set amid the squalor and poverty of the Po Valley with that landscape surveyed minutely and with intense documentary thoroughness throughout the film and in the flight of the doomed lovers in the final sequence.

197 198 Notes

9. See the Neo-Noir section of Silver and Ward’s (1992) Film Noir: An Encyclopedic Reference to the American Style. 10. This notion was codified in Honore-Antoine-Fregier’s 1840 work Des Classes dangereuses de la population des grandes villes (The Dangerous Classes in the Population of Great Cities) and it animated popular works of the period, most notably Eugene Sue’s Le Mystère de Paris, 1842–43 ( Jonsson 2008, p. 38). 11. Just as gay culture would reappropriate the pejorative ‘queer’ and use it as a form of resistance. The British proletariat’s reworking of this position is the subject of E. P. Thompson’s 1956 classic The Making of the English Working Class (New York, Vintage Books). 12. Double Indemnity (1944), for example, forms a crucial intertext for the Norwegian noir Death Is a Caress (1949), yet even here Edith Calmar’s film remains more attuned to exploring class and gender differences between the heart-throb mechanic and the rich wife who falls for him while foregoing the violent murder of her husband. 13. It was the ‘national popular’ that enabled French cinema to survive the onslaught of Hollywood in the 1930s with the invention of sound. Sound was at first viewed as merely a device that could be inserted into any story anywhere, and Paramount began filming various features in different languages for circulation abroad in an attempt to overwhelm the foreign market. However, French directors, using the French language and culture, molded an oppositional cinema in the form of poetic realism which was able to speak to its audience in ways Hollywood could not. 14. A possible explanation for this difference from film noir in the American context is the still extant remnants in much of the world of a feudal system in which all life and levels of life were connected, a system that was never a part of the American experience. 15. In the American context, see, for example, the doomed voice over of the hitchhiker killer in the prototype noir Detour (1945) and the experiments in subjective camera that mark Dark Passage (1947) and Lady in the Lake (1947).

1 Une grève, sanglante et poétique (A Strike, Bloody and Poetic): French Film Noir and the Defeat of the Popular Front

1. In Robin Buss’s list of ‘One Hundred and One French Film Noirs’ only 16 occur before the crucial year of 1955, which with Rififi (1955) and Bob Le Flambeur (1956) marks the moment of the entry into French films in a major way of a reflexive form of noir partly determined by the dialogue with its American counterpart. 2. This title is a riposte to the communist leader Maurice Thorez’s oft- quoted imposition of order on the spontaneous irruption of June 1936: ‘It is necessary to know when to end a strike.’ Notes 199

3. In that light, La Petite Lise’s shopgirl, who lives in a hovel and participates in a murder to remove herself from the prostitution that she is forced to engage in on the side, is the reverse image of the 1920s and 1930s free- floating consumerist flapper, perfected in Hollywood by Clair Bow, and the subject of cinematic studies of 1920s Weimar Germany and 1930s Shanghai. See Patrice Petro’s Joyless Streets (Princeton, NJ: Princeton University Press, 1989) and Zhen Zhang’s An Amorous History of The Silver Screen. Shanghai Cinema, 1896–1937 (Chicago, IL: University of Chicago Press, 2005). 4. La petite Lise opens with a sequence in the infamous prison colony of Cayenne in French Guinea where the routinized bathing and sleeping habits, resisted by the tattoos and graffiti of the bagnards, suggests the similarities between this form of slavery and the mean spirited applica- tion of Taylorism in the factory world outside. 5. Zola’s La Ventre de Paris (The Belly of Paris) begins with the return to Paris of a political prisoner sent to the island after the street revolts of 1852, the supposedly sole escapee from Devil’s Island to ever return to the capital. 6. The working-class holiday received its most grand cinematic celebration in Italy in Raffaello Matarazzo’s Treno Popolare (1936). Rather than being won by the workers, in Italy the worker’s leave was granted by Mussolini but the film, about passengers from Rome who are for the first time taking their day off to visit the countryside in Orviento, is a fascist-free tribute to the voyagers’ ability to enjoy their new-found freedom. 7. This contributed as well to the capitulation to that invasion in 1940. The same Reynaud who promulgated the decree to force strikes to break the workers was made Prime Minister during the Nazi invasion. Because he believed that arming the people of Paris would lead to a new Commune and a return of the worker militancy of 1936, instead of mobilizing these forces to continue the resistance, he called the First World War hero Marshall Pétain to aid him in promoting an armistice (Hayward 2005, p. 129). 8. There are fascinating linkages here between the French Poetic Realist and the Italian Neo-Realist period. In this case, Visconti, Renoir’s assistant for the late Popular Front period, first encountered Postman when Renoir rejected the project as did Carné. It then fell to Chenal, though Gabin, who was then on other projects, had very much wanted to play the working-class lead in the film (Brunelin, 1987, p. fn. 626). 9. Gabin, for example, after commercial success in Le Quai des brumes which made him the most popular actor in Europe, for months afterwards could not get in front of the cameras because producers were speculating on his name; signing him to contracts which then opened up additional fund- ing that the producers would siphon off with no intention of actually making the picture (Brunelin 1987, p. 250). 10. Charles O’Brien claims that the phrase film noir appeared in the popular press to describe films which presented a cynical view of the wealthy and that it ‘appeared within the same pages as reports on the highly publicized exposes and trials that had tarnished the reputation of the 200 Notes

film industry since ‘L’affaire Natan’ and other scandals of the mid-1930s’ (1995, p. 11). 11. These steps would be even more actively realized after the war when film- making was organized along a more industrial model in which unions would become an essential part of the sector. 12. In La Marseillaise (1937), Renoir’s most emphatic Popular Front film, the group that is singled out for the staunchest criticism is not the monarchy, but those nobles who flee abroad with their funds and from there finance an attack on the Revolution (Buchsbaum 1988). 13. The films were also directly acknowledged by Hollywood and American film critics, with the early noirish Pépé le Moko (1937) one of four French films to win the Academy Award as Best Foreign Film in the 1930s, while, from 1935 to 1938, five French films, including the pre-noir La Kermesse Héroïque (1935) and La Femme du Boulanger (1938), won the New York Critics Prize for Best Foreign Film. 14. Duvivier, in referring to Gabin’s everyman conviviality, described his prototype on screen as someone whom ‘every Frenchman enjoys drinking a red wine with’ (Turk 1989, p. 120). 15. In terms of film noir’s representation of the tragedy of working-class striving and losing in the pre- and post-war world, Terry Eagleton notes in his book on tragedy, Sweet Violence, that Marcel Proust speaks ‘not of affirmation in defeat but of affirmation of defeat … of “a fidelity to failure”’ (2003, p. 35). 16. One can recognize the worsening of the moment also in the difference between Le Quai des brumes and Hôtel du Nord. In the later film, Carné’s working-class Romeo and Juliet begin in tragic mode attempting suicide, then improbably resurrect themselves in the course of the film find- ing, through immersion in the working-class milieu of the Canal Saint Martin, a reason for living despite the economic hardships. After Le Quai des brumes’ tragic vision, this attempt to reverse the thrust of Romeo and Juliet and turn it into an uplifting comedy seems a desperate effort to reclaim a solidarity and optimism that is beyond restoration. 17. Both this period of French cinema and the American classical period of film noir avoid the gangster film or distinguish the noir protagonist from the gangster protagonist. Le Quai des brumes, often described as owing allegiance to Sternberg’s Docks of New York (1928), a favorite of Carné (Turk 1989, p. 104), and Scarface (1932), in fact sidelines the gangster character as a secondary brute and focuses instead on the outside-the-law aspect of the working-class aligned protagonist. In its suggestion of the gangster’s association with the fascist street fighter, the thrust of the film in its gangster aspect is closer to anticipating Brecht’s The Resistible Rise of Arturo Ui, the ultimate gangster-as-fascist ‘parable,’ written after the playwright fled to Finland in 1940–41, with the Nazi’s swarming the continent. 18. This ‘costume’ was famously attributed to Coco Chanel who, off the top of her head, when asked about Nelly’s appearance said, why not Notes 201

just a trenchcoat and a beret (Morgan 1984), creating the quintessential pared-down look of the modern woman. This creation, though, is a consumerist expression of this new freedom, different from Gabin’s ‘cloth cap,’ a symbol from below of working-class masculinity. 19. At least if the screen image is to be believed, since women were consistently accused of ‘horizontal collaboration’ in the war, a fate Chanel apparently embraced with the Germans (see Tobias Grey’s review of Hal Vaughn’s Sleeping With The Enemy, Coco Chanel Nazi Agent, Financial Times, 17/18 September, Life and Arts, 17). 20. Zabel, unfortunately, is also fairly clearly modeled on a Merchant of Venice Jewish Shylock, though this seems to be more a way of physically situating the critique of this class than a confirmed anti-Semitism with the artist Michel Krauss, who wills his possessions to Jean and is the opposite of the money-grubbing merchant, possibly being an off-setting positive characterization of a German Jew. 21. This image was most recently acknowledged in the conclusion of Martin Scorsese’s paean to Méliès and to the French Classical Cinema Hugo (2011), where the engineer pokes his face out from the locomotive as the train comes steaming into the station with the lead character having fallen on the tracks. 22. ‘The international cinema now has its Zola’ is the way Sadoul described Renoir’s films of the thirties (1988, p. 259). 23. The end games of both periods also have strong similarities. Zola’s next novel, La Débâcle, describes the calamitous defeat of a French army only called into battle against the Germans to preserve the power of Louis Napoleon, while Marc Bloch’s Strange Defeat in many ways echoes a similar unreadiness on the part of the French high command to fight another war against a National Socialist Germany with whom that class still had affinities. In both conflicts the French army suffered a key defeat in the small town of Sedan which then opened the floodgates for the Germans to invade. 24. Zola’s ending though is much stronger. Renoir concentrates on the fate of a single worker as representative of his class. In the novel, the train, full of troops going off to war, is about to collide with another train, as Lantier and Pecquex fall to their death. ‘What did it matter if a few people were killed as it went on its way? Was it not travelling towards the future?’ is Zola’s final statement about the fate of the Second Empire (2007 p. 388). This statement sums up an entire era whose corruption had led to a war that would then destroy thousands of troops so that Louis Napoleon could retain his power. The Debacle was Zola’s final criticism of an era in which the railroad had been chief engine of an ever- faster, ever more inhuman industrialization, spurred on by the drive for capitalist accumulation. 25. Zola’s description of the mood of the country at the end of the Second Empire may have been picked up by Renoir and illustrated by the inter- cutting of the murder and the song at the ball. ‘The country had been in 202 Notes

a constant state of hysteria, displaying all those symptoms of frenzy that portend some great disaster. As the Empire drew to a close, society, politics, … were infused with a sense of unease …, in which even occasions for celebration assumed an unhealthy, excessive character ‘(2007 p. 370). 26. That this representation of the brutality of the strikebreaking was recog- nized can be seen in the banning of the film by the Daladier government in December of 1939 and again by the Germans in the Occupation. The film’s reputation was restored after the war largely thanks to Bazin (Turk 1989, p. 175). 27. Not to mention of course Citizen Kane (1941), a film which crystalized the noir style for a generation of directors. Just as direct an influence is a moment at the onset of the first flashback, when François says, ‘… and yet only yesterday,’ an opening which is later taken up by the middle- class protagonist being hunted by the Henry Luce-like owner of the publishing company he works for in The Big Clock (1948) who, likewise, begins his reverie, ‘Just 24 hours ago. …’ 28. For example, in the fourth quarter of 2011, in the midst of a still-lingering recession, Amazon’s revenue rose $17.43 billion, up 35 per cent. This was counted as a failure because profits had been predicted to increase by an additional billion (‘Sales Miss Forecast at Amazon,’ New York Times, 1 February 2012, B1). 29. Bazin notes that the practical aspects of these objects overwhelm their symbolic value; that is, there is ‘nothing, not an object, not a being that signifies more than what it is; not one that is anything other than itself. If the alarm clock is the detonator of a time bomb, it is still only an alarm clock, perfectly in keeping with a workman’s bedroom’ (1983, p. 134). 30. The Nazi Socialist overlay is an acknowledgment that Hitler had broken up unions and outlawed Social Democracy in Germany and would likely do the same in France were the Nazis to triumph. 31. François and Clara’s words puncture Valentin’s posturing in a way that, as employed by Gabin, will be one of many echoes in Gabin’s performance that will recur in Bogart, specifically two years later in the way Sam Spade’s direct speech, his calling a spade a spade, will deflate the words of the upper-class Kasper Gutman in The Maltese Falcon. 32. This undercutting of the theatrical illusion will have its reversal in Carné and Prévert’s Occupation film Children of Paradise (1945), in which that illusion, which can be seen as implying an affirmation of the Nazi power behind its creation, is reaffirmed. As Alan Riding points out, the charade during the Occupation of a thriving and ‘independent’ French film industry suited the Germans, who would ‘face fewer problems if the French, particularly Parisians, were kept entertained … wallowing in their degeneracy’ (50). 33. Underneath this feeling on the part of the bourgeoisie that they were powerless, Marc Bloch maintained, was disgruntlement over having to share even a degree of power with their workers. ‘In the France of 1939 the members of the upper middle class were never sick of declaring that Notes 203

they had lost all power.’ Not true, he says, but ‘it is true that the great industrialists no longer held a monopoly in the running of the country’ (134). 34. François’s despair at having his illusion broken also expresses the mascu- linist fear that ultimately the woman overflows the bounds of the roles that patriarchy constructs for her. As such, it is similar to Scottie’s cry of grief when he realizes Madeleine and Judy Bardin are the same woman in Vertigo (1958) and that Madeliene’s ‘look’ has been designed in a plot by a financier to murder his wife: ‘He made you over just like I made you over.’ 35. The ultimate example being Jane Greer’s Kathie Moffett in Out of the Past who eventually leads Robert Mitchum’s Jeff Markam into what amounts to a double suicide. ‘No one’s all bad,’ his partner says to him about Kathy. To which he replies in the tersest Mitchum speak, ‘She comes closest.’ 36. Most notably Lizbeth Scott’s female vagrant, the ally of Van Heflin’s itinerant gambler in The Strange Love of Martha Ivers (1946), both of whom bond over being orphaned, as do François and Françoise.

2 The Revolution that Wasn’t: Black Markets, Ressentiment, and Survival in Post-War British Film Noir

1. So much so that King George had to assure Truman that ‘revolutions were not a British institution’ (Rubinstein 1978). 2. Herbert Morrison, a key Attlee minister, termed ‘any avoidable strike,’ those which disrupted Socialism’s ‘battle for production,’ ‘sabotage’ and any unofficial strike, which, since strikes were basically outlawed, would be most strikes, ‘sabotage with violence to the body of the Labour Movement’ (Fielding 2010, p. 150). 3. The class war aspect of this persecution became more obvious when Shawcross would occasionally use his aristocratic title ‘Baron.’ 4. Attlee’s own sympathies had swung so far to the right that in 1951, he delayed the moment of the election in order to accommodate a trip King George was taking to Africa. The delay was seen by commentators as con- tributing to Labour’s defeat, with the ultimate irony, if it was that, being that King George at the last moment decided he was not taking the trip after all (Morgan 1984, p. 82). 5. After the expansion of the defense budget urged on by the United States in the wake of Korea – defense being a euphemism for rationalizing the stockpiling of offensive weapons – the ‘defense’ budget accounted for between 6 and 10 percent of the total budget in a government that had imposed austerity elsewhere (Morgan 1984, p. 279). 6. Ultimately, there was so little difference between the Labour foreign policy and that of the Conservatives that Churchill boasted in 1952 that ‘The policy which I outlined at Fulton five years ago [in his ‘Iron Curtain’ speech which announced the Cold War] has since been effectively 204 Notes

adopted both by the United States and by the Socialist Party’ (Miliband 1973, p. 303). 7. John Grierson had expressed this sentiment before the war, but it applied equally after: ‘The cinema, it seemed for a moment, was about to fulfill its natural destiny of discovering mankind … what [was] more natural than that the recording of the real world should become its principal inspira- tion’ (qtd. in Brown 1997, p. 187). 8. Two factors which in Hollywood helped create the opening for American film noir were absent or in the background in British cinema. One was the presence of militant unions. In the British cinema trade unions there was a ‘strong, left and communist influence’ (Betts 1973, p. 219), but not the American history of strikes and blacklisting. The other was the flourishing after the war for approximately two years in the United States, the key years of American film noir, of a strong independent movement, often led by actors seeking to get out from under their studio contracts and which accounted for contentious noirs like Brute Force. 9. This was similar to what Hollywood had asserted as its goal in the changeover in the mid-1930s (the period of the institution of the MPAA Code) from a more working-class inflected cinema, to a middle-class cinema that aimed to reach the entire family on the assumption that this would produce more ticket sales (Leff and Simmons 1990). 10. This was the ‘kitchen sink’ cinema of Tony Richardson (Look Back in Anger [1959], Karel Reisz (Saturday Night and Sunday Morning [1960], and Lindsay Anderson (This Sporting Life [1963]). 11. Two additional significant sub-genres of noir were: the traumatized veteran films where the veteran is accused of a crime, Mine Own Executioner (1947), and The Small Back Room (1949), also a major part of US noir where the trauma played out often as amnesia (High Wall [1947], Somewhere in the Night [1946]) and, the serial killer films, most prominently starring Eric Portman (Great Day [1945], Wanted for Murder [1946]), where the heinous crimes have themselves been seen as expressions of the often repressed trauma of the war (Williams 1999). 12. Another similarity was that both films were also repressed within critical circles, ‘… banished from the respected canon of British realist films until … [they were] … resurrected in the early seventies’ (Murphy 1989, p. 156). 13. Raymond Durgnat, in a more supportive vein toward the Labour Government, notes in this period of British noir an anxiety over ‘the passing of power to lower-class democracy’ (1970, p. 192). 14. In the climactic chase Tommy, having ingeniously outwitted the police for much of the pursuit, finally hopelessly resigns himself to death and throws himself on the railway tracks. He is ‘rescued’ by the stolid inspector who pulls him off the tracks, and then is simply led away without a word; silenced and disgraced. 15. Her stepdaughters also want more, and are faced with Rose’s conflict. The oldest, Vi, wants to be a singer and is pursued by a married band leader, Notes 205

and the younger, Doris, who has a working-class boyfriend, is the object of a crooked arcade owner’s affections. The conflicts here equally resolve with the daughters accepting their bleak situation and with the contradictions remaining. 16. In the hospital because of Tommy’s blow, George forgives her and Rose ‘learns’ that toying with rebellion is too dangerous. It is far better to follow the path of limited security. This is exactly the same motto that militant labor was being taught in the period. 17. His name itself is another reminder of the absorption of Heart of Darkness into this text. 18. The aura of secrecy which engulfs the film, where the porter will not tell the police about his sighting of Harry, claiming, ‘I have no evidence, I saw nothing, I said nothing, it’s not your business,’ suggests the whole regime of entangling secret alliances that had characterized pre-war Europe and which Labour had initially avowed to eliminate, but which it was instead increasingly coming to reinstall under the aegis of the United States. 19. Welles’s description might even today be a characterization of the kind of American policy that has drones killing innocent women and children in Afghanistan and Pakistan. 20. If in this film Graham Greene divides the two characters or presents them as doppelgängers, by the time of his novel, The Quiet American (1955), he saw a much more tangible connection between the outward docile personality and the cruelty underneath and was able to portray both in the same character. 21. In terms of the role of Britain and Labour foreign policy in this new union, it is absent. Major Calloway drops Holly off to make another attempt at a liaison with Anna and then disappears from the film. 22. Instead, this group of actors would become famous for playing dashing spies: McCallum as Illya Kuryakin in The Man from U.N.C.L.E. (1964–68), McGoohan as the taciturn defender of the British Empire in Secret Agent (1964–66) and then as its victim in The Prisoner (1967–68), and Connery as James Bond, all three personas absorbed into the national security state apparatus. Even Jill Ireland who played many other roles also did her mandatory espionage stint in Love and Bullets (1979). 23. A last gasp at restoring the lost world of class complaisance, a ‘last-ditch effort by the dominant culture’ to keep the lid on ‘the British social revolution’ (Murphy 1994, p. 149), was a series of 1950s Second World War films in which the war seemed to have been fought and won not by soldiers and sailors, but by their officers. In these films all fought together not because they hated tyranny (which might suggest a contemporary fight against the tyranny of Conservative rule), but because of the classes ‘mutually shared love of Britain and Englishness’ (Murphy 1994, p. 150). 24. A documentary on the shooting of the film on the DVD features an interview with a group of short haulers who discuss their lives and working conditions. They point to the strain of driving and the toll it takes, 206 Notes

including the lack of quality health care, evident in their broken-down faces and, in some cases, missing teeth. They are brave in the face of danger and say they suffer only from ‘indigestion’ or ‘women trouble.’ But they also point to the constant danger by saying the film, in which two of the truckers die on the road, is accurate and one says that just recently ‘the fellow in front of me pulled ahead of me and shot me over the ditch’ (Carlton Visual). 25. Film gris was an advanced stage of noir in the late 1940s and early 1950s, so named by Thomas Anderson, which featured narratives that often centered on class tensions and included films such as Abraham Polonsky’s Force of Evil (1948). 26. Tom’s checkered past which he is trying to hide, is, as has been often pointed out in the case of the American film noir hero or heroine (see specifically Maltby’s ‘The Politics of the Maladjusted Text’ [1984]), analo- gous to the blacklistees and in this case to that of the émigré director Endfield, who had to tread cautiously in Britain though he was allowed to work there. 27. This moment recalls the escaped convict’s vivid description of being whipped at Dartmoor in It Always Rains on Sunday.

3 The Wintering of the Italian Spring: From Neorealism to Film Noir via Verdi

1. The two CD-led governments before 1948, though pledged to a policy of epurazione, of purging the Fascist elements of the bureaucracy, since this would have meant purging most of the existing bureaucracy, instead quickly opted for a policy of amnesty. In this way much of the Fascist structure and many of the Party members remained, with, as Paul Ginsborg (1990, p. 92) points out, the only real purge carried out by the CD against partisans and anti-fascists who had entered the national bureaucracy after the war. 2. As a Milanese worker described the situation in 1946 in terms of infla- tion: ‘Our wages were never enough: it was like being trapped in a narrow cage. If one day you bought something for ten lire, the next day it cost twelve, and then fifteen. To have any room to breathe we had to take action’ (Ginsborg 1990, p. 80). 3. Roberto Vivarelli’s quaint revisionist history of the period, where he writes out the Communists and the Socialists and accuses them of being anti-fascist but not pro-democratic, is contested by Rossanda who claims that the left as a whole was the major proponent of democracy against the Christian Democrats, who were more than happy to retain much of the trappings of Fascism. Equally absurd is the projection of this position onto the realm of the aesthetic in the trajectory of the same issue of October (Spring 2009, 128) as the Vivarelli article. The issue might be subtitled ‘Italian Post-War Cinema Without Neorealism.’ In its attempt Notes 207

to write out the contribution of the Communists and Socialists to Neorealism, if not to dismiss the movement entirely, it must resort to Italian regional comedy (Gennari 2009a) as the resistant genre of the period. 4. The United States also pioneered the use of covert intervention against the states of Europe in the period 1948–51 under the auspices of the Office of Policy Coordination, the forerunner of the CIA, which was secretly funded by European returns from the Marshall Plan (Liehm 1984, p. 15). Thus, Europeans were paying for the surveillance and dirty tricks that were perpetrated on them. 5. Though, as usual, he urged caution and blunted any revolutionary situation. His words after the shooting before losing consciousness were: ‘Don’t do anything rash’ (Rossanda 2010, p. 116). 6. Indeed, Renoir and Carné were touchstones for the Neorealists with Visconti having worked with Renoir (on the pre-neorealist Toni) and Antonioni with Carné (on Les Visiteurs du soir [1942]). 7. The precedent in Hollywood for this organized chaos was RKO during and immediately after the war. The studio had no stable ownership until Howard Hughes bought it in 1948 and this chaos gave birth to many of the key film noirs. 8. A formation that would later propel the French New Wave gathered around Cahiers du Cinema. 9. Bazin claimed the neorealist concept of ‘collective paternity’ was closer to the jazz spirit of group improvisation than to the ‘assembly line of American screenwriters’ (1971, fn 31). 10. The cost of neorealist films though was often greater than studio films because of the cost of transporting equipment and paying crew for being on location, a factor eventually in making the films easier to repress. 11. The Italian film market, Hollywood’s largest in Europe, was increasingly important because France, Germany, and Britain instituted forms of protectionism after the war, limiting the number of films. At home, the domestic market was declining after the war and the studio practice of vertical inte- gration was under attack after the 1948 Paramount Consent Decree ordering the studio to divest its exhibition arm; that is, to sell its theaters. 12. From the point of view of American cinema workers, this new form of international manufacture of films was termed ‘Runaway Production’ while many in Italy saw it as an older form of ‘cultural imperialism.’ 13. The state also regulated the content of newsreels, a form of documentary that neorealism had hoped to appropriate. The regulation was done under the auspices of the Centro Documentazione, a branch of the Prime Minister’s Office and thus under the control of De Gasperi directly (Forgacs and Gundle 2007, p. 218). 14. The name itself summons up memories of the colonial project of Fascism that is part of the joy and decadence of the flashback. 15. Just as in High Sierra where the hard-bitten gangster Roy Earle dies roman- tically vowing his affection for Marie (Ida Lupino), the blind woman. 208 Notes

16. The implied statement being, as Peter Bonadella summarizes it, that ‘the American influence on post-war Italy has been a corruptive force’ (1997, p. 80). 17. This heroic intervention of the police post-1948 contrasts sharply to the neorealist treatment of the police. See, for example, Bicycle Thief, where the policeman refuses to search for Ricci’s stolen bicycle and instead watches the departure of a squad of celere, elite units assembled by the CD to put down riots by unemployed workers like Ricci, the same units cel- ebrated in Flying Brigades. See also the gendarme who seduces one of the sisters of the fishermen and who enforces the policies of the wholesalers in La Terra Trema (1947), and the Po Valley police who chase the fugitive drifter, resulting in his partner’s death, in Ossessione. 18. An interesting precursor to the trilogy is Raffaello Matarazzo’s La Fumeria D’Oppio (1947) with the action revolving around a decadent opium den. The film makes light of the stupefied state of its upper-class patrons, suggests the house itself as a metaphor for Italy’s paralyzed ruling classes at the moment, and features a gang of rowdy, working-class black-marketeers who come to the rescue of the heroine. 19. Visconti was nearly executed before being rescued at the last minute. He later testified at, while also filming, the trial of his warder at the jail, Pietro Koch, who, partly on the strength of that testimony, was hung (Liehm 1984, fn 329). 20. There were two opposite modes of reception of the film. The Fascists destroyed the original negative in Rome when they fled to Mussolini’s Nazi-backed, short-lived kingdom of Salo (Bonadella 1997, p. 29), while partisan critics later described the film’s debut as the liberation, the July 25th, of the Italian cinema, this being the date in 1943 that Mussolini’s government fell (Liehm 1984, p. 58). 21. At one point Bragana says, as he pats Giovanna’s posterior, ‘What’s important is working and someone to leave the money to,’ though in this case he is speaking not so much about her, but rather of her as incubator for the offspring he is proposing she hatch. 22. For a description of the transformation of common sense to good sense in Italian Cinema as a whole see Landy (2000). 23. For this direct intervention, De Santis was regularly censored, forced to work outside the country, and ultimately blacklisted. In 1954 the government passed a resolution forbidding state fiscal support for any director connected to, or influenced by, the PCI. De Santis’s name appeared at the top of this blacklist (Vitti 1996, fn 176). A year before, De Santis, presciently, had declared, ‘I believe in the constructive language of the neorealist cinema, but in today’s conditions the task is almost desperate’ (Vitti 1996, fn 177). 24. Italian films of the period, as true popular forms, contain an intermis- sion, a break for the audience, followed by an announcement of Act Two. 25. Contradictions surrounded the film’s release as well. It was critically well received, winning the prize at Venice in 1947 for best Italian film and, Notes 209

though it received poor distribution, most likely because of its incendiary subject matter, it still finished 28th in receipts for 1948. The most bizarre moment of its reception, a moment replete with contradictions, occurred when it shared billing in a theater in Milan, three days before the 1948 election, with Ninotchka (Vitti 1996, fn 171), rereleased by Hollywood to promote the Christian Democrats. 26. The Catholic wing of the CGIL split in October 1948 to form the ‘free CGIL’ and in 1950 became the CISL. Social democrats and republicans set up their own UIL in 1949, with both factions then separate from the still communist-influenced CGIL (Van der Pijl 1984, p. 154). 27. De Santis consistently cited King Vidor as an influence and in many ways Our Daily Bread with its farm collective menaced by a criminal and a vamp is the ur-text for both of these films. 28. This device may have been borrowed from Le Jour se lève where François discovers that the broach Françoise has given to him as the ultimate token of her love was a trinket Valentin gave to her denoting her as one of his conquests. 29. Silvana’s leap from the tower is also echoed later in Antonioni’s 1957 swansong to neorealism The Cry (Il Grido) in which, also in the finale, a desperately depressed worker, in a similar trancelike state, leaps from the tower at the sugar refinery at which he was shown working in the opening of the film. In fact, the neorealist staple of the walk might even be countered in the post-1948 moment, after the defeat of the workers and the Popular Front, by the trope of the suicidal leap, with both these examples presaged by the boy’s walk then leap at the end of Germania Anno Zero. 30. Though the remainder of his career, with the exception of Il Grido, would focus mainly on the inner life of the haute bourgeoisie, he had multiple screen experiences with a working-class cinema before he began directing feature films, including his documentaries People of the Po (1943–47) and N.U. (1948) about the working day of five sanitation workers, as well as his co-scripting of Ossessione, Tragic Pursuit, and In the Name of the Law (In nomme della legge [1949]). 31. There is a particular reference to a moment in Ossessione that the shot of the workers under the bridge in Cronaca echoes. When Gino and Giovanna attempt to flee Bragana, they argue on the road as behind them rice workers till the fields. 32. Or, since Antonioni was the poet of the interior feelings attached to these changes, perhaps the designation should be haute inner-neorealism. 33. Rosi worked as assistant director with Visconti (La Terra Trema [1947], Senso [1954]) and Antonioni (I Vinti [1953]) as well as co-scripter with Luigi Zampa on Trial in the City (Processo alla città [1952]). 34. Angela Dalle Vacche (1992) claims that the grandeur of opera was associated with the films of the Fascist period and that one of the characteristics of the neorealist break was the adoption of a more earthy approach which had its origins instead in commedia dell’arte. 210 Notes

35. There is a similar lament the year before, at the end of Antonioni’s Il Grido in the moment of the worker’s final leap from the tower of the workplace he cannot seem to transcend.

4 Occupy the Zaibatsu: Post-War Japanese Film Noir from Democracy to the (Re)Appearance of the (Old) New Order

1. Labor organization in the pre-war period was endemic so that by 1929 600 labor associations with a membership of over a third of a million workers had formed (Anderson and Richie 1959, p. 64). Strikes featured prominently in the 1920s and 1930s not only in industry as a whole, but also in particular in the film industry where, for example, the benshi (silent screen narrators) and musicians struck in the period of the transi- tion to sound, attempting to save their jobs. 2. Although the title was Allied Powers and there was some initial participa- tion by the British and Russians, for all intents and purposes the Allied Powers in Japan were the United States and General MacArthur in effect dictated policy during the Occupation. 3. Throughout the period there was constant backbiting and attempts by each of the majors to throttle the others. Two famous examples were Shochiku’s seizing control of Nikkatsu’s Chiba Bank Loans and then pressuring Nikkatsu to join a four-company alliance to boycott Toho (Anderson and Richie 1982, p. 85) and an infamous moment when, on the night Shochiku was celebrating an alignment with Toho, Nikkatsu’s managing director Hori Kyusaku was thrown into jail for bribing bank officials, the information on the bribery supposedly supplied to the police by Shochiku. This moment is referred to in the opening of The Bad Sleep Well. 4. Nikkeiren representative Sakurada Takeshi later claimed in retrospect that the defeat of the Toho studio workers was the first step in a major mana- gerial offensive to curb worker power over management decisions (Price 1997, p. 66). 5. Occupying the studio followed an even more incendiary tactic when in 1946 and 1947 striking exhibition unions occupied theaters and allowed patrons to enter for free (Anderson and Richie 1982, p. 168). 6. An even stronger nod of support than the group of American actors and directors, including Bogart, Bacall, and John Huston, who flew to Washington opposing the 1947 HUAC hearings but who, when they realized the seriousness of the penalties the Hollywood Ten were facing, quickly flew back to Los Angeles and disbanded. 7. To aid the 1800 Japanese police surrounding the studio, the Americans sent a company of cavalry, two armored cars and tanks, and three air- planes, one of which contained a US army major who was supposedly directing the strike-busting operation. One actress commented that ‘The Notes 211

only thing that didn’t come was a battleship’ (Anderson and Richie 1982, p. 170). The significance of the American intervention in the breaking of the occupation of the Toho studio was that once ‘the Occupation army had directly and publicly intervened’ in a labor dispute, showing American support for a toughening stance on labor, it strengthened the resolve of the police and of management to ‘exercise their authority’ (Price 1997, p. 66). 8. The newsreel appears in Shohei Imamura’s Pigs and Battleships and is cited by Mellen (1776, p. 238). 9. In the 1950s, the studios began programming both ‘A’ major budget films and ‘B’ smaller budget, shorter films and began a much more intensive production schedule. Shochiku, for example, began turning out two films per week including these 40–60 minute films called ‘sister pictures’ to the ‘A’ films, that also functioned as a training ground for actors and directors (Anderson and Richie 1982, p. 249). Just as in the United States in the 1940s, ‘B’ films also, because less monitored and because they had a working-class audience, became a potential site for expressions of working-class modes of thought and of feelings of discontent at the more rigid class system installed after the post-war defeat of the strikers. 10. The use of the Yokohama docks, which feature prominently in Masuda’s Red Quay (1958), often compared to Pépé le Moko, suggest in their shadowy nihilism the port of Le Havre from Quai des brumes. 11. Masuda also indicates in his memories of life at Nikkatsu that, early in the cycle at least, there existed the same kind of potential freedom that has been argued to have inspired noir directors working in B production in Hollywood. ‘We made our films without studio bosses knowing anything. We dreamed them up to suit ourselves,’ Masuda says, adding that these directors did not abandon the idea of a social cinema: ‘Even action films can say something about the state of the world’ (2008, pp. 128–9). 12. The rank hypocrisy of the ‘democratic movement’ after 1960 can be seen in the ‘Liberal’ Party, which in effect was so in name only and set up much like the supposed still-revolutionary PRI in Mexico, an over half- century, quasi-dictatorship under cover of a parliamentary system. 13. The studio followed up its 1950 hit the next year with Oh! We’re Still Living, detailing the lives of multiple working-class characters. The title itself is a testament in the face of the repression to the endurance of a labor movement under assault. 14. This banishing and return also included the studio heads and, most relevantly here, the head of Toho, Yoshio Osawa (Anderson and Richie 1982, p. 166). 15. The German Expressionist effects are especially interesting in that the American censors later, in Stray Dog, refused to allow the murderer to hum ‘Mack the Knife’ because it was from Germany and for them had suggestions of the Nazis. They seemed to have no knowledge of its place as part of a critique of that society in Brecht and Weil’s Threepenny Opera (Sorenson 2007). 212 Notes

16. Philippe Fraise (2007, p. 38) suggests that the heat represents the still oppressive heat of the atomic bomb, whose lingering presence and effects could still be felt in Japan but which could not be discussed in the Japanese cinema of the Occupation. 17. If later films are to be believed that is indeed exactly what happened. Noboru Nakamura’s The Shape of Night, made in 1964, painstakingly details the descent of a woman into this utterly hellish unregulated street activity which eventually claims her life. 18. Despite company hiring of scabs and company violence, the women at Omi won a 107-day strike and were awarded their first collectively bar- gained contract (Price 1997, p. 120). 19. The film is generally devalued in the West, seen as Mizoguchi past his prime, with some notable exceptions. Donald Richie describes it as ‘the best of all films examining the problems of women in post-war Japan’ and a French expert on Japanese cinema, Jean Douchet, claims that, along with Monsieur Verdoux (1947) and Le Régles du jeux (1939) ‘it is the greatest film in the history of the cinema’ (Le Fanu 2005, p. 85). 20. The exact ending is a return to the almost direct address to the audience of Sisters of The Gion, where the youngest sister, face turned outward, in close-up, asks, ‘Why must we suffer so?’ Here a very young girl, readied for her first night of work, in almost a similar way, practically sobs to an approaching client ‘Come on, Come on,’ as she half hides her face around a corner. Her fearful ‘come-on’ is accompanied by the eerie electronic music we heard at the opening of the film. The return of this high-pitched buzz that is also a screech of pain marks an ending whose sense resembles the shock endings of The Twilight Zone. 21. There is here, as in many of Kurosawa’s films, an allegory of production with an echo of corrupt studio practices and backbiting in how the wed- ding ceremony is disrupted by the prosecutor coming to question Wada, who is escorted out of the ceremony to catcalls from the press. This scene eerily recalls the Nikkatsu heads being arrested at a ceremony celebrating a studio merger (see note 3). 22. This moment recalls the equally psychologically damaged scions of a wealthy family who enact their neuroses on the road in luxury cars in Sirk’s Written on the Wind (1956).

Conclusion: Mediterranean Noir – Sunlight Gleaming Off a Battered .45

1. Perhaps more presciently, it links to Aki Kaurismäki’s Le Havre (2011) which refers to that city’s cinematic heritage, including multiple noir references, in its story of an African boy from Gabon who escapes the container in which he has been transported and whose cause is taken up by the older residents of the city, including one of them named, apropos of Le Jour se lève, Arletty. Notes 213

2. All of which is not even to mention the enrolling of Korean women as ‘comfort women,’ sexual servants of the Japanese military (Katsiaficas 2012, p. 53). 3. As yet, the Nordic Noir tradition has not particularly centered a critique on the capitalist, free-market ‘opening’ of the Scandinavian countries, preferring, for example, to see the high-tech dynamism of the Lizbeth Salander lead character in the Millennium series as countering social democratic decadence. David Fincher’s American remake of Girl with the Dragon Tattoo (2011) does ascribe more of the corruption to the general malaise of a cut-throat ‘liberalized’ society where each competes against or battles the other. 4. At the 2012 Venice Architectural Biennale, the Denmark pavilion featured a plea for Greenland, which guarantees its colonizer access to the now-melting Arctic Ocean with its more easily tapped oil supply, to maintain its ties to Denmark. 5. Both were highly influenced by a short-lived series Murder One (1995–97) on American television. 6. The settler, for example, would often plow the land to such an extent that it was fallow and then be greatly aided by the nomad’s use of the land for grazing which helped replenish it. 7. An early cinematic manifestation of Mediterranean noir was classic period director René Clément’s Plein Soleil (1959) which, as a critic in Le Monde noted at the occasion of the 2013 rerelease of the film, was the première injection of the color aesthetic as a part of the European film noir (Samuel Blumenfeld, Friday 12 July 2013, p. 13). 8. This similar spectrum follows also from a ‘homogenous’ climate, occa- sioning, as Braudel puts it, ‘the same seasonal rhythm, the same vegeta- tion, the same colours … the same landscapes, identical to the point of obsession; in short, the same ways of life’ (1972, p. 235). 9. Lucarelli’s is a more conservative, ready-for-television, approach to the genre. The Damned Season, the most famous entry in his wartime trilogy, follows Commissario DeLuca, a ‘neutral’ inspector during the Fascist period who after the war hides his identity from the partisans while solving a violent crime that implicates their leader. 10. Bouchareb’s next project Belleville Cop, a buddy film about the linking of an Algerian and American cop, is a more blatant Hollywoodization of Mediterranean noir, written by 48 Hours (1982) screenwriter Larry Gross. Bibliography

Preface

B. Stigler (2012) De la misère symbolique (Paris : Champs essais).

Introduction

J. Anderson and D. Richie (1959) The Japanese Film: Art and Industry (New York: Grove Press). R. Boyer and H. Morais (1955) Labor’s Untold Story (New York: Cameron Associates). D. Broe (2009) Film Noir, American Workers and Postwar Hollywood (Gainsville, FL: University Press of Florida). A. Campbell and J. McIlroy (2010) ‘Britain: The Twentieth Century,’ in J. Allen, A Campbell and J. McIlroy (eds), Histories of Labour: National and International Perspectives (Pontypool, Wales: Merlin Press). C. Crisp (1997) The Classic French Cinema (Bloomington, IN: Indiana University Press). C. Faulkner (1986) The Social Cinema of Jean Renoir (Princeton, NJ: Princeton University Press). D. Forgacs and S. Gundle (2007) Mass Culture and Italian Society from Fascism to the Cold War (Bloomington, IN: Indiana University Press). A. Gramsci (1985) Selections from Cultural Writings (London: Lawrence & Wishart). S. Guilbaut (1983) How New York Stole the Idea of Modern Art (Chicago, IL: University of Chicago Press). E. Herman and R. McChesney (2003) ‘The Rise of the Global Media,’ in L. Parks and S. Kumar (eds), Planet TV: A Global Television Reader (New York: New York University Press). E. Hobsbawm (1959) Bandits (London: Penguin). E. Hopkins (1979) A Social History of the English Working Classes 1815–1945 (London: Edward Arnold). G. Horne (2001) Class Struggle in Hollywood, 1930 [1950: Moguls, Mobsters, Stars, Reds, and Trade Unionists (Austin, TX: University of Texas Press). S. Jonsson (2008) A Brief History of the Masses: Three Revolutions (New York: Columbia University Press). J. Lucassen (2004) ‘A Multinational and its Labor Force: The Dutch East India Company, 1595–1795,’ International Labor and Working-Class History, 66, 12–39. M. Marcus (1986) Italian Film in the Light of Neorealism (Princeton, NJ: Princeton University Press).

214 Bibliography 215

T. Matsumura, J. McIlroy and A. Campbell (2010) ‘Japan,’ in J. Allen, A Campbell and J. McIlroy (eds), Histories of Labour: National and International Perspectives (Pontypool, Wales: Merlin Press). L. May (1989) ‘Movie Star Politics: The Screen Actors’ Guild, Cultural Conversion and the Hollywood Red Scare,’ in L. May (ed.), Recasting America: Culture and Politics in the Age of Cold War (Chicago: University of Chicago Press). T. McCormick (1989) America’s Half-Century: United States Foreign Policy in the Cold War ( Baltimore, MD: Johns Hopkins University Press). K. Moody (1988) An Injury to All: The Decline of American Unionism (London: Verso). J. Naremore (1998) More than Night: Film Noir in its Contexts (Berkeley, CA: University of California Press). L. Parks and S. Kumar (2003) Planet TV: A Global Television Reader (New York: New York University Press). M. Rediker (1987) Between the Devil and the Deep Blue Sea: Merchant Seamen, Pirates, and the Anglo-American Maritime World, 1700–1750 (Cambridge: Cambridge University Press). R. Rossanda (2010) The Comrade from Milan (London: Verso). T. Rose (1994) ‘A Style Nobody Can Deal With: Politics, Style and the Postindustrial City in Hip Hop,’ in A. Ross and T. Rose (eds), Microphone Fiends: Youth Music and Youth Culture (New York: Routledge). A. Silver and E. Ward (1992) Film Noir: An Encyclopedic Reference to the American Style, 3rd edn (Woodstock, NY: Overlook Press). M. Smith (1995) Engaging Characters: Fiction, Emotion, and the Cinema (Oxford: Clarendon Press). P. Stead (1989) Film and the Working Class: The Feature Film in British and American Society (Routledge: London). J. Tomlinson (2003) ‘Media Imperialism,’ in L. Parks and S. Kumar (eds), Planet TV: A Global Television Reader (New York: New York University Press). R. Williams (1977) ‘Structures of Feeling,’ in Marxism and Literature (Oxford: Oxford University Press). T. Williams (1999) ‘British Film Noir,’ in A. Silver and J. Ursini (eds), Film Noir Reader 2 (New York: Limelight Editions). M. Van der linden (2010) ‘Labour History Beyond Borders,’ in J. Allen, A Campbell and J. McIlroy (eds), Histories of Labour: National and International Perspectives (Pontypool, Wales: Merlin Press).

French film noir

R. Abel (1988) (ed.) French Film Theory and Criticism: A History/Anthology 1907–39. Volume II: 1929–39 (Princeton, NJ: Princeton University Press). G. Altman (1988) ‘Le Jour se lève A pure film noir,’ in R. Abel (ed.), French Film Theory and Criticism: A History/Anthology 1907–39. Volume II: 1929–39 (Princeton, NJ: Princeton University Press). T. Adorno and M. Horkheimer (1972) ‘The Culture Industry: Enlightenment as Mass Deception,’ in Dialectic of Enlightenment (New York: Seabury Press). 216 Bibliography

D. Andrew (1995) Mists of Regret: Culture and Sensibility in Classic French Film (Princeton, NJ: Princeton University Press). A. Bazin (1983) ‘The Destiny of Jean Gabin,’ in M. Bandy (ed.), Rediscovering French Film (New York: Museum of Modern Art). A. Bazin (1983) ‘The Disincarnation of Carné,’ in M. Bandy (ed.), Rediscovering French Film (New York: Museum of Modern Art). A. Bazin (1971) Jean Renoir (New York: Delta). A. Bazin (1963) Regards neuf sur le cinema (Paris: Éditions du Seiul). R. Bergan (1995) Jean Renoir: Projections of Paradise (Woodstock, NY: Overlook Press). C. Blakeway (1990) Jacques Prévert: Popular French Theater and Cinema (Cranbury, NJ: Associated University Presses). M. Bloch (1999) Strange Defeat (New York: W. W. Norton). D. Broe (2009) Film Noir, American Workers and Postwar Hollywood (Gainsville, FL: University Press of Florida). D. Brower (1968) The New Jacobins: The French Communist Party and the Popular Front (Ithaca, NY: Cornell University Press). A. Brunelin (1987) Gabin (Paris: France Loisirs). J. Buchsbaum (1988) Cinema Engage: Film in the Popular Front (Urbana and Chicago, IL: University of Illinois Press). R. Buss (1994) French Film Noir (London: Marion Boyars). M. Carné (1988) ‘When Will the Cinema Go Down into the Street?’ in R. Abel (ed.), French Film Theory and Criticism: A History/Anthology 1907–39. Volume II: 1929–39 (Princeton, NJ: Princeton University Press). C. Crisp (1997) The Classic French Cinema 1930–1960 (Bloomington, IN: Indiana University Press). J. Driskell (2008) ‘The female “metaphysical” body in poetic realist film,’ Studies in French Cinema, 8:1, 57–73. R. Durgnat (1974) Jean Renoir (Berkeley, CA: University of California Press). T. Eagleton (2003) Sweet Violence: The Idea of the Tragic (Oxford: Blackwell). J. Ellis (1985) A History of Film (Englewood Cliffs, NJ: Prentice-Hall). H. Ehrmann (1947) French Labor: From Popular Front to Liberation (New York: Oxford University Press). C. Faulkner (1996) ‘Renoir, Technology and Affect in La Bête humaine,’ Persistence of Vision, 12/13, 82–101. C. Faulkner (1986) The Social Cinema of Jean Renoir (Princeton, NJ: Princeton University Press). G. Fofi (1977) ‘The Cinema of the Popular Front in France (1934–38),’ Screen Reader I (London: SEFT). G. Fofi (1972/3) ‘The Cinema of the Popular Front in France (1934–38),’ Screen, 13:4, 5–57. S. Hayward, Susan (2005) French National Cinema, 2nd edn (London: Routledge). E. Hobsbawm (2010) ‘Preface: Looking Back Half a Century,’ in J. Allen, A Campbell, and J. McIlroy (eds), Histories of Labour: National and International Perspectives (Pontypool, Wales: Merlin Press). Bibliography 217

J. Jackson (1988) The Popular Front in France: Defending Democracy, 1934–38 (Cambridge: Cambridge University Press). G. Lukács (1964) Studies in European Realism (New York: Grosset & Dunlap). M. Morgan (1978) With Those Eyes (London: W. H. Allen). B. Neve, Brian (1992) Film and Politics in America: A Social Tradition (London: Routledge). H. Noguères (1977) En France Au Temps Du Front Populaire 1935–38 (Paris: Librarie Hachette). C. O’Brien (1996) ‘Film Noir in France: Before the Liberation,’ Iris, 21, 7–20. M. O’Shaughnessy (2000) Jean Renoir (Manchester: Manchester University Press). K. Oeler (2009) ‘Renoir and Murder,’ Cinema Journal, 48:2. A. Riding (2010) And the Show Went On: Cultural Life in Nazi-Occupied Paris (New York: Alfred A. Knopf). P. Rotha (1949) The Film Til Now: A Survey of Modern World Cinema (London: Vision). G. Sadoul (1988) ‘A Masterpiece of Cinema: La Bête humaine,’ in R. Abel (ed.), French Film Theory and Criticism: A History/Anthology 1907–39. Volume II: 1929–39 (Princeton, NJ: Princeton University Press). P. Schrader (2004) ‘Notes on Film Noir,’ in A. Silver and J. Ursini (eds), Film Noir Reader (New York: Limelight Editions). C. Shindler (1996) Hollywood in Crisis: Cinema and American Society 1929–39 (New York: Routledge). E. Strebel (1980) French Social Cinema of the Nineteen Thirties: A Cinematographic Expression of Popular Front Consciousness (New York: Arno Press). M. Turim (1990) ‘Poetic Realism as psychoanalytical and ideological operation: Marcel Carné’s Le Jour se lève (1939),’ in S. Hayward and G. Vincendeau (eds), French Film Texts and Contexts (London: Routledge). E. Turk (1989) Child of Paradise: Marcel Carné and the Golden Age of French Cinema (Cambridge, MA: Harvard University Press). J. Vigo (1988) ‘Towards a Social Cinema,’ in R. Abel (ed.), French Film Theory and Criticism: A History/Anthology 1907–39. Volume II: 1929–39 (Princeton, NJ: Princeton University Press). G. Vincendeau (1993) ‘Noir is Also a French Word: The French Antecedents of Film Noir,’ in I. Cameron (ed.), The Book of Film Noir (New York: Continuum). J. Wasko (1982) Movies and Money (Norwood, NJ: Ablex Publishing). E. Zola (2007) The Beast Within (London: Penguin). S. Žižek (2008) Violence (New York: Picador).

British film noir

R. Armes (1978) A Critical History of British Cinema (London: Secker & Warburg). C. Barr (1999) Ealing Studios: A Movie Book (Berkeley, CA: University of California Press). 218 Bibliography

E. Betts (1973) The Film Business: A History of British Cinema 1896–1972 (London: Pitman Publishing). P. Bogdanovich (1999) ‘Interview,’ The Third Man DVD (Criterion Collection). C. Brendel (2005) ‘Controversy on Autonomous Class Struggle in Great Britain’. Available from: http://libcom.org/library/goodbye-to-the-unions-echanges- et-movements. D. Broe (2009) Film Noir, American Workers and Postwar Hollywood (Gainsville, FL: University Press of Florida). G. Brown (1997) ‘Paradise Found and Lost: The Course of British Realism,’ in R. Murphy (ed.), The British Cinema Book (London: British Film Institute). C. Brunsdon (1999) ‘Space in the British Crime Film,’ in S. Chibnall and R. Murphy (eds), British Crime Cinema (London: Routledge). Carlton Visual Entertainment Limited (2004) ‘Special Features: Location Report,’ on Hell Drivers DVD. A. Cavalcanti (1988) ‘The Neo-Realist Movement in England,’ in R. Abel (ed.), French Film Theory and Criticism: A History/Anthology 1907–39. Volume II: 1929–39 (Princeton, NJ: Princeton University Press). W. Dixon (1994) ‘The Doubled Image: Montgomery Tully’s Boys in Brown and the Independent Frame Process,’ in W. Dixon (ed.), Re-Viewing British Cinema 1900–1992 (Albany, NY: State University of New York Press). R. Durgnat (1997) ‘Some Lines of Inquiry into Post-war British Crimes,’ in R. Murphy (ed.), The British Cinema Book (London: British Film Institute). R. Durgnat (1970) A Mirror for England: British Movies from Austerity to Affluence (London: British Film Institute). W. Everson (1987) ‘British Film Noir,’ Films in Review, May, June/July. S. Fielding (2010) ‘Labourism in the 1940s,’ 20th Century British History, 3:2. R. Hewison (1981) In Anger: British Culture in the Cold War 1945–60 (New York: Oxford University Press). M. Keaney (2008) British Film Noir Guide (Jefferson, NC: McFarland). L. Leff and J. Simmons (1990) The Dame in the Kimono: Hollywood, Censorship, & The Production Code From The 1920s To The 1960s (New York: Grove Weidenfeld). lib.com (2006) ‘The Labour Government vs. the Dockers 1945–51’ Available from: http://libcom.org/library/labour-party-dockers-1945-1951-solidarity. R. Maltby (1984) ‘Film Noir: The Politics of the Maladjusted Text,’ Journal of American Studies, 18, 49–71. B. McFarland (2010) ‘Temptation Harbour,’ Quarterly Review of Film & Video, 27:5. C. Merz (1994) ‘The Tension of Genre: Wendy Toye and Muriel Box,’ in W. Dixon (ed.), Re-Viewing British Cinema 1900–1992 (Albany, NY: State University of New York Press). R. Miliband (1973) Parliamentary Socialism: A Study in the Politics of Labour, 2nd edn (London: Merlin Press). K. Morgan (1984) Labour in Power, 1945–51 (Oxford: Clarendon Press; New York: Oxford University Press). R. Murphy (2007) ‘British Film Noir,’ in A. Spicer (ed.), European Film Noir (Manchester: Manchester University Press). Bibliography 219

R. Murphy (2004) ‘Dark Shadows around Pinewood and Ealing,’ Film International, 2:7, 1. R. Murphy (1989) Realism and Tinsel: Cinema and Society in Britain, 1939–48 (London: Routledge). B. Neve (1992) Film and Politics in America: A Social Tradition (London: Routledge). K. Van der Pijl (1984) The Making of An Atlantic Ruling Class (Thetford: Verso). V. Porter, (1997) ‘Methodism versus the Market-place: The Rank Organisation and British Cinema,’ in R. Murphy (ed.), The British Cinema Book (London: British Film Institute). T. Pulleine (1997) ‘A Song and Dance at the Local: Thoughts on Ealing,’ in R. Murphy (ed.), The British Cinema Book (London: British Film Institute). J. Richards, Jeffrey (1997) ‘British Film Censorship,’ in R. Murphy (ed.), The British Cinema Book (London: British Film Institute). J. Richards and A. Aldgate (1983) Best of British: Cinema and Society, 1930–70 (Oxford). D. Rubinstein (1979) ‘Socialism and the Labour Party: the Labour Left and Domestic Policy, 1945–1950’. Available from: www.whatnextjournal.co.uk/ Pages/History/Lableft.html (accessed 10 May 2012). F. Saunders (1999) The Cultural Cold war: The CIA and the World of Arts and Letters (New York: New Press). P. Sorlin (1991) European Cinemas, European Societies 1939–1990 (London: Routledge). A. Spicer (2007) (ed.) European Film Noir (Manchester: Manchester University Press). A. Spicer (1997) ‘Male Stars, Masculinity and British Cinema, 1945–60,’ in R. Murphy (ed.), The British Cinema Book (London: British Film Institute). P. Stead (1989) Film and the Working Class: The Feature Film in British and American Society (London: Routledge). E. P. Thompson (1956) The Making of the English Working Class (New York: Vintage Books). T. Williams (1999) ‘British Film Noir,’ in A. Silver and J. Ursini (eds), Film Noir Reader2 (New York: Limelight Editions). T. Williams (1994) ‘The Repressed Fantastic in Passport to Pimlico,’ in W. Dixon (ed.), Re-Viewing British Cinema 1900–1992 (Albany, NY: State University of New York Press).

Italian film noir

M. Antonioni, Michelangelo (2009) ‘Film Reviews,’ October, 128. A. Bazin (1971) What is Cinema? Volume II (Berkeley, CA: University of California Press). P. Bonadella (1997) Italian Cinema From Neorealism to the Present (New York: Continuum). P. Brooks (2000) ‘Body and Voice in Melodrama and Opera,’ in M. A. Smart (ed.), Representations of Gender and Sexuality in Opera (Princeton, NJ: Princeton University Press). 220 Bibliography

F. Braudel (1981) The Structures of Everyday Life: Civilization and Capitalism 15th–18th Century, Volume 1 (New York: Harper & Row). G. P. Brunetta (1994) ‘The Long March of American Cinema in Italy From Fascism to the Cold War,’ in D. W. Ellwood and R. Kroes (eds), Hollywood in Europe: Experiences of a Cultural Hegemony (Amsterdam: Vu University Press). A. Brunelin (1987) Gabin (Paris: France Loisirs). M. Ciment (1976) Le Dossier Rosi (Paris: Editions Stock). A. Dalle Vacche (1992) The Body in the Mirror: Shapes of History in Italian Cinema (Princeton, NJ: Princeton University Press). G. De Santis (1978) ‘Towards an Italian Landscape,’ in D. Overby (ed.), Springtime in Italy: A Reader on Neo-Realism (Hamden, CT: Archon Books). G. Ferrara (1978) ‘Neo-Realism: Yesterday,’ D. Overby (ed.), Springtime in Italy: A Reader on Neo-Realism (Hamden, CT: Archon Books). D. Forgacs and S. Gundle (2007) Mass Culture and Italian Society: From Fascism to the Cold war (Bloomington, IN: Indiana University Press). D. Gennari (2009a) ‘A Regional Charm: Italian Comedy versus Hollywood,’ October, 12, 51–68. D. Gennari (2009b) Post-War Italian Cinema: American Intervention, Vatican Interests (London: Routledge). P. Germi, G. De Santis and Luchino Visconti (1978) ‘In Defense of the Italian Cinema in Landscape,’ in D. Overby (ed.), Springtime in Italy: A Reader on Neo-Realism (Hamden, CT: Archon Books). J. A. Gili (1976) Francesco Rosi Cinema et Pouvoir (Paris: Éditions du Cerf). P. Ginsborg (1990) A History of Contemporary Italy 1943–1980 (London: Penguin). E. J. Hobsbawm (1959) Primitive Revels: Studies in the Archaic Forms of Social Movement in the 19th and 20th Centuries (New York: Frederick A. Praeger). I. Jarvie (1994) ‘The Postwar Economic Foreign Policy of the American Film Industry: Europe 1945–1950,’ in D. W. Ellwood and R. Kroes (eds), Hollywood in Europe: Experiences of a Cultural Hegemony (Amsterdam: Vu University Press). M. Landy (2000) Italian Film (Cambridge: Cambridge University Press). D. J. Leab (2007) Orwell Subverted: The CIA and the Filming of Animal Farm (University Park, PA: Penn State University Press). P. Leprohon (1972) The Italian Cinema (New York: Praeger). B. Lewton, Ben (1996) ‘Foreword,’ in A. Vitti, Giuseppe De Santis and Postwar Italian Cinema (Toronto: University of Toronto Press). M. Liehm (1984) Passion and Defiance: Film in Italy from 1942 to the Present (Berkeley, CA: University of California Press). M. Marcus (1986) Italian Film in the Light of Neorealism (Princeton, NJ: Princeton University Press). L. May (1989) ‘Movie Star Politics: The Screen Actors’ Guild, Cultural Conversion and the Hollywood Red Scare,’ in L. May (ed.), Recasting America: Culture and Politics in the Age of Cold War (Chicago, IL: University of Chicago Press). G. Nowell-Smith (1973) Luchino Visconti (New York: Viking Press). Bibliography 221

R. Rossanda (2010) The Comrade from Milan (London: Verso). M. Silverman (1984) ‘Italian Film and American Capital, 1947–1951,’ in P. Mellencamp and P. Rosen (eds), Cinema Histories/Cinema Practices (Los Angeles: American Film Institute). P. A. Sitney (1995) Vital Crises in Italian Cinema (Austin, TX: University of Texas Press). S. Toffetti (2012) ‘Noir Voyage en Italie: Rétrospective Films Noirs à L’Italienne,’ in La Cinematheque Française Programme Juin–Juillet, 30–7. K. Van der Pijl (1984) The Making of An Atlantic Ruling Class (Thetford: Verso). A. Vitti (1996) Giuseppe De Santis and Postwar Italian Cinema (Toronto: University of Toronto Press). R. Vivarelli (2009) ‘Winners and Losers in Italy at the End of the Second World War,’ October 128, 6–22. M. P. Wood (2007) ‘Italian Film Noir,’ in A. Spicer (ed.), European Film Noir (Manchester: Manchester University Press). C. Zavattini (1978) ‘Thesis on Neo-Realism,’ in D. Overby (ed.), Springtime in Italy: A Reader on Neo-Realism (Hamden, CT: Archon Books).

Japanese film noir

J. Anderson and D. Richie (1982) The Japanese Film: Art and Industry: Expanded Addition (Princeton, NJ: Princeton University Press). J. Anderson and D. Richie (1959) The Japanese Film: Art and Industry (New York: Grove Press). D. E. Apter and S. Nagayo (1984) Against the State: Politics and Social Protest in Japan (Cambridge, MA: Harvard University Press). N. Burch (1979) To the Distant Observer: Form and Meaning in the Japanese Cinema (Berkeley, CA: University of California Press). E. Cazdyn (2002) The Flash of Capital: Film and Geopolitics in Japan (Durham, NC: Duke University Press). P. Fraise (2007) ‘Kenji Mizoguchi, les années 1945–1950,’ Positif, nos 557–8, 36–8. J. Goodwin (1994) Akira Kurosawa and Intertextual Cinema (Baltimore, MD: Johns Hopkins University Press). K. Hirano (1992) Mr. Smith Goes to Tokyo: Japanese Cinema Under the American Occupation: 1945–50 (Washington, DC: Smithsonian Institution Press). A. Kurosawa (1983) Something Like An Autobiography (New York: Knopf). M. Le Fanu (2005) Mizoguchi and Japan (London: British Film Institute). V. Mackie (1997) Creating Socialist Women in Japan: Gender, Labour and Activism, 1900–1937 (Cambridge: Cambridge University Press). H. Macnaughtan, Helen (2005) Women, Work and the Japanese Economic Miracle: The Case of the cotton textile industry, 1945–75 (London: Routledge Curzon). T. Matsumura, J. McIlroy and A. Campbell (2010) ‘Japan,’ in J. Allen, A Campbell and J. McIlroy (eds), Histories of Labour: National and International Perspectives (Pontypool, Wales: Merlin Press). 222 Bibliography

J. Mellen (1976) The Waves at Genji’s Door: Japan Through Its Cinema (New York: Pantheon Books). D. Miyao (2005) ‘Dark Visions of Japanese Film Noir’. Available from http:// site.douban.com/106789/widget/notes/127384/note/95291100/. J. Price (1997) Japan Works: Power and Paradox in Postwar Industrial Relations (Ithaca, NY: ILR Press). M. Schilling (2008) No Borders No Limits: Nikkatsu Action Cinema (Godalming: FAB Press). J. Sharp and S. Nutz (2005) ‘Midnight Eye Interview: Jo Shishido & Toshio Masuda’. Available from: http://www.midnighteye.com/interviews/jo- shisido-toshio-masuda/. L.-M. Sorenson (2007) ‘Kurosawa and the Censors’ Drunken Angel DVD (Criterion Collection). R. Wood (1998) ‘Three Films of Mizoguchi: Questions of Style and Identification,’ in Sexual Politics and Narrative Film (New York: Columbia University Press). M. Yoshimoto (2000) Kurosawa: Film Studies and Japanese Cinema (Durham, NC: Duke University Press).

Contemporary regional noir

J. Allen, A. Campbell and J. McIlroy (2010) Histories of Labour: National and International Perspectives (Pontypool, Wales: Merlin Press). F. Braudel (1972) The Mediterranean and the Mediterranean World in the Age of Philip II (New York: Harper). M. Cafard (2003) The Surre(gion)alist Manifesto and Other Writings (Baton Rouge, LA: Exquisite Corpse). M. Carlotto (2006) The Goodbye Kiss (Rome: Europa Editions). A. Davies (2007) ‘Spanish neo-noir,’ in A. Spicer (ed.), European Film Noir (Manchester: Manchester University Press). M. Eaude (2006) ‘The anger and ethics of Manuel Vázquez Montalbán,’ International Socialist, 110. Available from: http://www.isj.org.uk/?id187. S. Ferri (2006) ‘Towards a History of Mediterranean Noir,’ in M. Reynolds (ed.), Black and Blue: An Introduction to Mediterranean Noir (Rome: Europa Editions). Available from: http://www.europaeditions.com/pressroom-read. php?ld92. B. Forshaw (2012) Death in a Cold Climate (Basingstoke: Palgrave Macmillan). F. Fressoz and P. Ridet (2013) ‘La Berlusconisation de Nicolas Sarkozy,’ Le Monde, Friday 12 July, p. 17. P. Ginsborg (2005) Silvio Berlusconi: Television, Power and Patrimony (London: Verso). R. Helf (2013) ‘More Than a Scandinavian Night? Forbrydelsen, Nordic Noir, and the Cultures of Criticism.’ Available from: http://ronhelfsblog.blogspor. com’2013/03/more-than-scandivavian-night.html. J.-C. Izzo (1999) A Sun for the Dying (Rome: Europa Editions). J.-C. Izzo (1995) Total Chaos (Rome: Europa Editions). Bibliography 223

T. Jones (2006) ‘The Yellow and the Black,’ in M. Reynolds (ed.), Black and Blue: An Introduction to Mediterranean Noir. Available from: http://www. europaeditions.com/pressroom-read.php?ld92. G. Katsiaficas (2012) Asia’s Unknown Uprisings, Volume 1 (Oakland, CA: PM Press). C. Lucarelli (2007) The Damned Season (Rome: Europa Editions). M. Montalbán (1999) Southern Seas (London: Serpent’s Tale). M. Reynolds (2006) Black and Blue: An Introduction to Mediterranean Noir. Available from: http://www.europaeditions.com/pressroom-read.php?ld92. Index

Page numbers in bold refer to figures.

3 Monkeys 188 Bad Sleep Well, The 3, 24, 29, 147, 39 Steps, The 95 150–1, 159, 161–2, 171–5, 174 Baker, Stanley 1, 3, 98, 108, 109 À propos de Nice 36, 59 Barbaro, Umberto 122 Adorno, T. 68, 157 Barr, Charles 100 Algeria 182, 187–8, 187 Battle of Algiers, The 187, 188 Alicata, Mario 120 Battleship Potemkin 56, 67 alignment 26, 27 Bazin, A. 48, 49, 52, 58 allegiance 26–7 Bernhardt, Curtis 43 Allen, J., A. Campbell and Berry, Jules 47–8, 80 J. McIlroy 177 Betts, E. 91, 92 All-Japan Film Employee Union Beyond the Gates see Au-delà des Grilles Association 154 Bicycle Thief 118, 128, 165, 169 Altman, George 55, 74, 75, 77 Big Clock, The 19 American Gangster 30 Bitter Rice (Riso Amaro) 3, 16, 29, Anderson, Benedict 9, 23 116, 120, 121, 125, 127, 134, Anderson, J. and D. Richie 157, 136–9, 141 160 Black Angel 129 Anderson, Lindsay 109 Blakeway, Clare 77, 81 Andreotti, Giulio 15, 122–3 Blanche Fury 96 Andrew, Douglas 17–18, 42, 58, 76 Blind Date 98 Annabella 39 Bloch, Marc 79 Anouilh, Jean 16 Blue Lamp, The 94, 95, 97, 99 Antonioni, M. 116, 125, 140–2 Blue Scar 94 Arab Spring 9 Blum, Leon 32, 35, 36–7, 59 Aristarco, Guido 123 Body and Soul 161 Armes, Roy 99 Bogarde, Dirk 95 Armored Car Robbery 165 Bogart, Humphrey 18–19 Arrivederci Amore, Ciao 30, 184–6 Bogdanovich, P. 104 Asamichi, Yamamoto 151 Bonadella, P. 123, 141 Asian noir 176, 178 Bouchareb, Rachid 30, 187–8, 187 Attenborough, Richard 95 Boudu sauvé des eaux 47 Attlee, Clement 83, 85, 86–7, 87, 89 Box, Muriel 101 Au-delà des Grilles (Beyond the Boyer, Charles 39 Gates) 16, 125, 128 Branded to Kill 157 Autant-Lara, Claude 41 Braudel, Fernand 65, 137, 143, Automne Octobre à Alger (Autumn: 177, 178, 181–2 October in Algiers) 188 Breen, Joseph 136

224 Index 225

Brendel, C. 86–7 City Defends Itself, The/La Città si Bridges, Lloyd 110–11 difende 125, 129 Brighton Rock 95 Claire, René, À Nous la liberté 34 British Social Realism 109 Clark, Dane 97 Broe, D. 15 class: Brooks, Richard 92 France 19–20, 57–64, 73–82 Brunetta, G. P. 121 Great Britain 20, 85–6, 93 Brute Force 41, 77–8, 102 Italy 20–1 Buchsbaum, J. 46 Japan 20 Bunuel, L. 45, 56 class consciousness, Great Burch, Noel 159, 171, 172 Britain 98–102 Buss, Robin 31 Clément, René 16, 125, 128 Clouzot, Henri-Georges 111 Cocaine/Una lettera all’alba Cabinet of Dr. Caligari 164 129 Coeur de Lilas Cafard, Max 177–8 43

Cain, James M. 43, 129 Cold War, the 4, 6–9, 15, 17, 41, Çakal (The Jackal) 30, 188–9 82, 90, 102, 102–7, 115, 117, Call Northside 777 161 146

Carlotto, Massimo 30, 184–6 Conde, David 154

Carné, Marcel 2, 32, 41, 43, 46, Connery, Sean 108 Contre le Courant 48, 49, 51, 55, 56–7, 60–1, 77, 59

99–100, 130 corruption, France 43–6 see also Le Quai des brumes Corsi, Barbara 14

Cat People 125, 129 Costa, Angelo 117

Cavalcanti, A. 93–4, 95–6, Cotten, Joseph 103, 104 Criminal, The 96, 97 108

Cemetery Man (Dellamorte Crisp, Colin 38, 41, 44, 45, 46, 49, Dellamore) 185 50–1 Criss Cross censorship 88–9 42–3 Crossfire France 56–7 2, 19

Great Britain 90, 92–3 Curtis, James 97 Italy 123 Japan 157–8, 165 Daiei 154 Ceylan, Nuri Binge 188 Daladier, Edouard 37, 73, 77 Challenge, The/La Sfida 116, 126, Dali, Salvadore 45, 56 128, 140, 143–5, 144 Dalle Vacche, A. 144 Chance of a Lifetime 94 Dassin, Jules 41, 97–8, 102, 126 Chandler, Raymond 15, 97 Dead of Night 96 Chase, James Hadley 97 Deleuze, Gilles 64 Chenal, Pierre 43, 46, 52, 130 Delon, Alain 183–4 Cheyney, Peter 97 Detective Story 97, 165 Chimes at Midnight 139 Detour 74 China 29, 178 Diamant-Berger, Henri 42 Chinatown 71, 173 Dors, Diana 101 Churchill, Winston 118 Double Indemnity 2, 116, 132, 138, cinematography 50–1 140, 142 226 Index

Driskell, Jonathan 61 corruption 43–6 Drunken Angel 3, 17, 19, 24, 29, costs 38–9 146, 155, 158, 162–4, 166 émigré filmmakers 42–3 Durgnat, Raymond 69, 96 fall of, 1940 79 film production 42, 56 Each Dawn I Die 93 financing 39, 40 Ealing Studio 99 influence on Britain 96–7 Earrings of Madame de… 161 influence on Japan 161 Eastern Mediterranean noir 186–9, La Bête humaine and the Industrial 187 Revolution 64–73 Eaude, Mike 183 Le Jour se lève and the introjection Ehrmann, H. 67 of defeat 73–82 Einaudi, Luigi 118 Le Quai des brumes and Eisenstein, Sergei 67 working-class tragedy 57–64 Ellis, J. 56 the Matignon Agreement 35, 63 Endfield, Cy 3, 28, 84, 98 mode of production 37–43 see also Hell Drivers model 18–19 Engrenages 180 poetic realism 1–2, 4, 13, 16, 24, Escape 95 31, 32, 33, 47–55, 55–6, 74 Every Day Except Christmas 109 the Popular Front 31, 32–7, 37–8, 39–40, 43, 46, 55, 59, 60, Fabio Montale 183–4 63, 66, 68, 71, 73, 76, 81–2 Fame is the Spur 15, 94 protectionism 13 Famous Sword, The 160 the Renaitour inquiry 44 Fascism 126–7, 129–33 the Stavisky Affair 43–4 Faulkner, Christopher 52, 65 strikes, the 1000 days 31, 32–7, Fédération nationale des artisans 43–6, 57, 73, 81–2 français du film 45 unionization 44–5 Feininger, Lyonel 76 French Social Cinema 47 Fernandel 47 Fressoz, F. and P. Ridet 186 Ferri, S. 181 Fugitive 96 Fielding, S. 84, 87 Fury 136 flow 24–5 Flying Brigades/Il Bivio 125, 129 Gabin, Jean 1, 2, 16, 41, 43, 48, Fofi, Goffredo 33, 58, 59, 66, 68, 50–1, 52, 57, 58, 65, 66, 128 121 Gance, Abel 66–7 Footsteps in the Fog 92, 96 Gasperi, Alcide De 117, 118, 122 Forbrydelsen 29, 180–1 Gaumont 39, 40, 44 Forgacs, D. and S. Gundle 14, 15, Gennari, D. 123 120, 121, 122, 123, 124, 127, Germany 1, 24, 36, 38, 39 130 Germany Year Zero (Germania Forshaw, B. 180 anno zero) 14, 128 France 28, 31–82, 121, 182, 183–4 Gide, André 33 censorship 56–7 Gilroy, Paul 10 class 19–20, 73–82 Ginsborg, P. 116–17 the Cold War 17 Girl with the Dragon Tattoo, The 29 Index 227

Girotti, Massimo 135, 141 Grémillon, Jean 4–6, 16, 34, 44, global perspective 21–5 46, 51 Good-Time Girl 96, 98–9, 101–2 Grierson, John 93–4, 96 Goodwin, James 166 Guattari, Felix 64 Gramsci, Antonio 21, 22–3, 81, 134 Hamer, Robert 98–101 Grand Illusion 99 Hamlet (Shakespeare) 173–5 Granger, Stewart 92, 95 Hammett, Dashiell 15, 97 Great Britain 6, 24, 28, 83–114, Hands over the City (Le Mani sulla 115 città) 143 American influence 97–8 Harrison, Rex 95 Angry Young Men 108, 109 Hayward, Susan 57 black market 87 He Walks by Night 165 censorship 88–9, 90, 92–3 Hell Drivers 3, 28, 84, 93, 98, class 20, 85–6, 93 108–14 class consciousness 98–102 Hell is a City 108 the Cold War 8, 17, 90 Herman, E. and R. McChesney concentration of film 10–14 industry 90–1 Hewison, Robert 89, 92, 110 crime film tradition 3 High Wall, The 19, 43 Emergency Powers Act 88 Hirano, K. 154, 155, 156, 158, 160, foreign policy 102–7 163 French influence 96–7 Hitchcock, Alfred 95 Hollywood colonization of Hobsbawm, Eric 8, 20–1, 32, 127 cinema 90, 91–2 Høeg, Peter 180 Italian policy 118 Hoggart, Roger, The Uses of Labour Government, 1945–5 83, Literacy 109 84–90 Hollywood 1, 2, 4, 15, 43, 55, 177 mode of production 38, 90–3 B film 15–16 the Nenni Telegram 88–9 colonization of British Neo-Realist Movement 93–4 cinema 90, 91–2 outside-the-law fantasies 94–5 cultural imperialism 23–5 period melodrama 96 dominance 10–14 post-war cinema 83–4 dominance in Italy 121–3 protectionism 13 film production 56 strikes 86–7, 89 Production Code 38 war trauma 19 studio system 37, 40–1 Wartime Order 1305 88 unionization 44–5 Welfare State 84–5 violence 64 working-class cinema 93 Hong Kong 29, 178 working-class noir 108–14 Hors la loi (Outside the Law) 30, wrong man noir 95–6 187–8, 187 Great Expectations 95 Hôtel du Nord 24, 48, 99–100 Great Train Robbery, The 135 Howard, Trevor 104 Greene, Graham 3, 19, 28, 83, 97 Hughes, David 87 see also Third Man, The Huston, Penelope 110 228 Index

I Am Waiting 161 National Congress of Industrial I Met a Murderer 3, 92 Unions (NCIU) 148–9 Idiot, The 15 Nikkeiren 149–50, 155 Ikuru 162 post-war critique 157–62, 162–7 Il Bandito 21, 29, 120, 125, 126, 127 prostitution 167–71 In a Village near Paris 76 studio strikes 13–14 In This World 178 US Occupation 146, 148, 149, Ingrao, Pietro 119 150, 155–6, 157–8, 159, 162 Intimidation 158, 161 women 147, 151–2, 159, 160, Iran 89–90 167–71 Ireland, Jill 108 yakusa films 159 It Always Rains on Sunday 21, 28, Jarvie, I. 121 83, 96, 98–101 Johnston, Eric 12, 123 Italy 24, 29, 30, 36, 89, 115–45, Joko Aishi (Pitiful History of Factory 182, 184–6 Girls) 152 Andreotti Law 3, 13, 15, 16, 29, Jouhaux, Leon 35 115, 122–4 and Britain 118 Karlson, Phil 17, 160–1 censorship 123 Keaney, Michael 95 class 20–1 Keenan, George 8 the Cold War 17, 117 Killers, The 42, 74 democracy rolled back 116–19 Kimura, Sotoji 153 economic miracle 139–45 kitchen sink movement 109–10 and Fascism 126–7, 129–33 Kiyoshi, Kubo 151 mode of production 119–24 Korea 29, 178–9 neorealism 3, 12, 124–9, 133–9 Korean War 7, 150 protectionism 13 Kruse, John 110, 111 strikes 134 Kurahara, Koreyoshi 161 unemployment 116 Kurosawa, Akira 3–4, 15, 17, 19, US domination 117–19, 136–9 24, 29, 146, 147, 150–1, 155, US film industry 157, 158, 159, 162 dominance 121–3 see also Bad Sleep Well, The; Iwasaki, Akira 155 Drunken Angel; Stray Dog Izzo, Jean-Claude 30, 181, 183–4 La Bandera 18, 27, 48, 50–1 Jackson, Julian 32, 33, 34–5, 35, La Bataille du rail 128 36, 37, 67–8, 74 la Bern, Arthur 98 Japan 3–4, 6, 10, 17, 29, 115, La Bête humaine/The Human 146–75, 178 Beast 1–2, 28, 32, 51, 53, 54, abuse of power 146–7, 165–7 57, 58, 64–73 censorship 157–8, 165; class 20 La Grande Illusion 48, 59 corporate corruption 171–5, 174 La Petite Lise 4, 16, 33 French influence 161 La Règle du jeu (Rules of the industrial relations 146, 147–52, Game) 46, 66, 78, 80 152–3, 154–7, 162–4, 168, 169 La Ronde 161 mode of production 152–7 La Roue 66 Index 229

La Terra Trema 143 Loren, Sophia 124 La Vie est à nous 56 Losey, Joseph 98 Lady From Shanghai 164 Love on the Dole 93 L’Age d’or 45, 56 Lower Depths/ The, les Lambert, Gavin 91 Bas-Fonds 17, 42 Lancaster, Burt 18, 41 Lucarelli, Carlo 185 Lang, Fritz 133, 136, 164 Luce, Henry 7 Larsson, Steig 180 Lukács, Georg 54–5 Last Hunt, The 92 Lumière Brothers 67 Lattuada, Alberto 21, 29, 120, 127–8 Lured 43 Laurentiis, Dino De 136 Luxembourg, Rosa 9 Lavender Hill Mob, The 99 Lynch, David 181 Le 6 Juin à l’aube (6 June 1944 at Dawn) 4–6, 5 M 106, 164 Le Bataille du rail (The Battle of the Mac Orlan, Pierre 58 Rails) 16 McCallum, David 108 Le Crime de Monsieur Lange 26, 27, McGoohan, Patrick 108 35, 40, 44, 47–8, 52–3, 54, 70, Mackie, V. 169 72, 80, 94 Magnani, Anna 124 Le Dernier Tournant 43, 130 Mallet-Stevens, Rob 49 Le Fanu, Mark 171 Maltz, Albert 111 Le Figaro (newspaper) 35 Mangano, Silvana 1, 137 Le Jour se lève/Daybreak 1–2, 18, 25, Mann, Anthony 41, 63 28, 32, 42, 43, 48, 50, 51, 55, Manvell, Roger 109 57, 72, 73–82 Marseille 183–4 Le Quai des brumes/Port of Marshall, George 118–19 Shadows 1–2, 28, 32, 42, 47, Marshall Plan 7 48, 51, 52, 53, 54, 56, 56–7, Mason, James 3, 95 57–64, 68, 72, 99, 132 Masuda, Toshio 159 Le Tunnel 43 Matsumura, T., J. McIlroy and A. Lean, David 95 Campbell 147, 148, 151 Lebbra Bianca 129 Mattelart, Armand 12 Leprohon, P. 124 Mayer, Louis B. 155 Les Bas-Fonds 25, 48, 66 Mediterranean, the 29–30, 176–89 L’Étrange Monsieur Victor 34, 44, Eastern Mediterranean noir 49–50 186–9, 187 Lewton, Val 2 Western Mediterranean L’Herbier, Marcel 48–9 noir 182–6 Liehm, M. 127, 130, 140 Meerson, Lazare 42 lighting 50–1, 60 Melman, Seymour 7 Litvak, Anatole 43 Mifune, Toshiro 1, 147, 155, 162, locations 48–9, 68 164, 166 Long Memory, The 99 Miliband, Ralph 85, 89 Long Night, The 43 Millennium film series 180 long take style 51–5 Mills, John 95 Look Back in Anger 108 Mitchum, Robert 18, 43 230 Index

Mizoguchi, Kenji 147, 160, 167–71 Osborne, John 85 Modot, Gaston 45 O’Shaughnessy, M. 46, 65 Momma Don’t Allow 109 Ossessione 43, 115, 116, 120, 125, Montalbán, Manuel Vázquez 30, 126, 129–33, 135, 140, 141, 142 182–3 Our Daily Bread 139 moral allegiance 27 Out of the Past 43, 64 Moravia, Albert 120, 130, 140 outside-the-law fantasies, Great Morgan, Michèle 52, 61, 84, 85, Britain 94–5 86, 87, 88, 89, 102 Murder By Proxy 97 Paid to Kill 97 Paramount 39, 42 Naked City, The 165 Parker, John 84 Naremore, James 16 Partie de campagne (A Day in the Naruse, Mikio 155 Country) 36, 68 Natan, Bernard 39, 44 Pathé 39, 40, 44 Navel, Georges 67 Pattes blanches (White Paws) 16 Nenni, Pietro 89 perceptual alignment 27 Nenni Telegram, the 88–9 period melodrama, Great neorealism, Great Britain 93–4; Britain 96 Italy 3, 12, 124–9, 133–9 Phantom Lady 42 Nicholas Nickleby 95 Phoenix City Story, The 161 Night and the City 97–8, 126 Pièges 43, 50 Night Mail 94 poetic realism 1–2, 4, 13, 16, Nikkatsu Action Films 153, 154, 17–18, 24, 26, 31, 32, 33, 47–55, 157, 158–9, 159, 161 55–6, 74, 120 Ninotchka 122 Populaire (journal) 35 No Orchids for Miss Blandish 93, 97 Porter, V. 91 No Regrets for our Youth 15 Postman Always Rings Twice, Nobuske, Kishi 171 The 43, 70, 71, 120, 129, 140 Noguères, Henri 32, 34, 35, 36 Prévert, Jacques 46, 77 Nordic Noir 176, 179–81 Price, J. 150, 172 Nothing New Tonight//Stasera Niente production, mode of 46 Di Nuovo 125, 126 France 37–43 Notorious 186 Great Britain 38, 90–3 Nowell-Smith, Geoffrey 129, 131, Hollywood studio system 37–8, 133 40–1 Italy 119–24 O’ Brien, C. 55 Japan 152–7 Occupy Movements 9 Production Code, Hollywood 38 October Man, The 95 Prowler, The 98 Odd Man Out 92 Psycho 186 Oeler, Karla 72 Puccini, Gianni 120 Oliver Twist 95 Once Upon a Time in Anatolia 188 Raimu 47 One Wonderful Sunday 156 Rand, Ayn 143 Orwell, George 84 Rank, J. Arthur 90, 90–1 Index 231

Rank Corporation 38 set design 48–50 Raw Deal 41, 63, 139 sex and sexuality 65 Reed, Carol 102–7 Sharp, J. and S. Nutz 159 Reisz, Karel 109 Shawcross, Hartley 89 Renaitour inquiry, the 44 Shimura, Takeshi 155 Renoir, Jean 2, 17, 26, 32, 36, 39, Shinsei Motion Picture 40, 41, 44, 46, 47–8, 48, 51, Productions 156 52–3, 53–4, 56, 65, 78, 94, 130 Shochiku 153, 154, 159 see also La Bête humaine Silverman, M. 136 Renzi, Renzo 123 Simon, Michel 47 Reynaud, Paul 37 Siodmak, Robert 42–3, 50, 129 Reynolds, M. 182 Sirk, Douglas 41, 43 Richards, J. 93 Sisters of the Gion 160, 168 Richardson, Tony 109 Sjöwall, Maj 180 Rien que les heures 96 Smilla’s Sense of Snow 180 RKO 31, 43 Smith, Murray 26 Roman Holiday 15, 122 So Evil My Love 96, 99 Rome, Open City (Roma città social fantastique 2 aperta) 14, 16, 29, 120–1, 127, Somewhere in the Night 19 128 sound, introduction of 38 Room at the Top 96, 108 Sound of Fury 110–11 Rose, Tricia 24–5 soundtracks 53 Rosi, Francesco 21, 126, 128, 140, Soviet Union 22 142–5 Spain 182–3 Rossanda, Rosanna 117, 119 Spicer, A. 109 Rossen, Robert 161 Spider and the Fly, The 99 Rotha, Paul 56 Stavisky Affair, the 43–4 Rusty Knife 158, 159, 161 Stead, P. 14, 92 Stewart, James 104, 161 Sadoul, George 58, 66, 67 Story of a Love Affair (Cronaca Salvatore Giuliano 21 di un amore) 116, 125, 128, Santis, Giuseppe de 3, 16, 19, 29, 140–2 116, 120, 133, 139–40 Strange Love of Martha Ivers, The 18, see also Bitter Rice; Tragic Pursuit 142 Saragat, Giuseppe 89 Stranger, The 19, 104 Sartre, Jean Paul 124 Stranger on the Third Floor 125 Scandal 17 Stray Dog 3, 146–7, 156, 158, Scandal Sheet 17 165–7 Scandinavia 29, 179–81 Strebel, Elizabeth 54 Schiller, Herbert 12 Street of Shame 147, 152, 160, Schrader, Paul 74 167–71 Schufftan, Eugen 42 Street of Violence 156, 158, 160–1 Second World War 4–6, 5, 79, 84 Street of Women 160 See, Edward 56 structure of feeling 25–6 Selznick, David O. 104 Suzuki, Michio 149 Senso 123 Suzuki, Seijun 157 232 Index

Taiwan 29 foreign policy 102–7 television 24 and Italy 117–19, 136–9 Temptation Harbour 96, 108 model 21, 22 These Foolish Times 162 permanent war economy 6–7 They Drive By Night 3, 97, 126 Truman Doctrine 8 They Made Me a Fugitive 94, 95–6 war trauma 19 Third Man, The 19, 83, 95, 97, 98, see also Hollywood 102–7, 103, 129 Universal 41 This Gun for Hire 19, 97 Thompson, E. P. 86 Vaillant-Couturier, Paul 46 Those Who Create Tomorrow 154–7 Valli, Alida 107, 126 To Have and Have Not 19 Vallone, Raf 138 Toffetti, S. 130 Vigo, Jean 36, 58–9 Togliatti, Palmiro 118 Vincendeau, Ginette 43, 49 Toho Studio 3, 13–14, 146, 152–7, violence 62–4, 75–7 163 Visconti, Luchino 43, 115, 120, Tomlinson, J. 12 123, 125, 143 Toni 48, 66, 69 see also Ossessione Tourneur, Jacques 43 Vitti, A. 134, 135 Tout ça ne veut pas l’amour 43 Toynbee, Philip 85 Wages of Fear, The 111 Tragic Pursuit (Caccia Tragica) 3, 19, Wahlöö, Per 180 29, 116, 120, 125–6, 127, 133–6, Wallace, Edgar 97 139, 141 Wanted for Murder 19 Trauner, Alexandre 49 Warner, Jack 78, 99 Trucks in the Fog/Fari Nella Watanabe, Tetsuzo 156, 163 Nebbia 125, 126–7 Waterloo Bridge 96 Turim, Maureen 76, 80–1 Waterloo Road 95 Turk, E. 58, 62, 76, 77 Weil, Simone 34, 68 Turkey 182, 188–9 Welles, Orson 19, 98, 103, 129, Twin Peaks 181 139, 164. see also Third Man, The UFA 38 Went the Day Well? 96, 97 Umberto D 15, 123 Wesker, Arnold 85 Une Partie de campagne 51 Western Mediterranean noir 182–6 Uneasy Terms 97 What Made Her Do It 153 unionization: White Slave Trade/La Tratta delle France 44–5 Bianche 129 Hollywood 44–5 Widmark, Richard 97–8 United States of America: Williams, Raymond 24, 25 the Cold War 8, 17 Winnington, Richard 14 cultural imperialism 23–5 Winterbottom, Michael 178 dominance 10–11 Without Pity/Senza pietà 125, 127–8 film production 42 Women of the Night 159, 167, 169 foreign lending and foreign direct Wood, M. P. 141 investment [FDI] 11 Wood, Robin 98 Index 233

Woolrich, Cornell 15, 97 Yoshimoto, Mitsuhiro 171, 175 working-class noir, Great You Only Live Once 133 Britain 108–14 Young, Owen D. 10–11 wrong man noir, Great Young and Innocent 95 Britain 95–6 Zavattini, Casare 119–20 Yamamoto, Satsuo 160–1 Zay, Jean 39 Yellow Sea, The 29, 178–9 Žižek, Slavoj 75 Yield to the Night 102 Zola, Emile 64–6, 71