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Notes

Introduction: Beyond the Limits of Noir Scholarship

1. The fourth manifestation of the fatal – the garçon has not been included in this book due to the marked absence of fatal young men in American noir. Characters such as () in ’s 1999 cinematic remake of Patricia Highsmith’s The Talented Mr Ripley (1955), come close; however, although Tom is young he is very much an adult. 2. See ’s ‘Notes on ’ (1996, pp. 53– 64) for a more com- prehensive breakdown of the stylistic elements of classic noir. 3. Bill Drake’s A Rage in Harlem (1991) and Hoodlum (1997), both period- thrillers, could also be argued to function to this effect. 4. Along similar lines to Faludi, Imelda Whelehan argues the feminism has become an ‘f- word’ and is promoted as an ‘empty dogma which brain- washed a whole generation of women into a false consciousness of their relationship with power’ (2000, p. 16). This manifests in popular media as what Whelehan describes as ‘ retro- sexism’, where anti- feminist rhetoric is rehashed in the form of nostalgia (2000, pp. 24– 5). One way this is played out is through reruns of television shows that depict blatant sexism such as M*A*S*H (Lary Gelbart, 1972– 1983). 5. Also see Munford (2004, pp. 144– 5) and Heywood and Drake (1997, p. 5).

1 What Makes Those Dames So Deadly?

1. It is worth noting however, that although Kitty is elegantly displayed in early flashback sequences, later in the film, after her boyfriend Jim Colefax (Albert Dekker) is released from prison, she becomes increasingly deglamourised. As Jans B. Wagner (2005, p. 43) identifies, Kitty appears in a succession of seedy motel rooms, devoid of makeup and looking visibly tired. Her costuming ranges from plain sweaters to wrinkled shirts and skirts. Finally, by the end of the film, supposedly nine years after Kitty first appears in flashback, she has transformed into what appears to be a conservative, middle- class housewife – iconography that is emblematic of the increased control Colefax wields over her. 2. Steve Neale also discusses Vicki’s predicament as a ‘powerless victim of powerful men’ in his paper ‘“I Can’t Tell Anymore Whether You’re Lying”: , Human Desire and the Narratology of Femmes Fatales’ (2010, p. 194). 3. Also see Jancovich’s ‘Vicious Womanhood: Genre, the , and Postwar America’ (2011).

166 Notes 167

4. The Big Sleep depicts working women in roles such as taxi drivers, con- trasting the working woman to the freeloading Carmen Sternwood. 5. This label could also apply to Gilda, except that Gilda is a gold digger who is not averse to using her sexuality to get what she wants. It is also worth mentioning that Stables also uses the term faux fatale in order to describe the maniacal women in horror- thrillers such as Single White Female (Barbet Schroder, 1992) and The Hand That Rocks the Cradle (, 1992). For Stables these ‘ psycho- femmes’ have fatale elements but they are not objects of desire like the fatale proper is (Stables, 1998, pp. 164– 65). 6. The fact that Laura is more transgressive in regards to her occupation as an executive may be reflective of the fact that the original novel was authored by a woman. 7. Very similar dynamics can be found in contemporary popular culture where increasingly women occupy banal, non- threatening occupations such as sex workers, dog walkers, waitresses, and maids (see Negra, 2009, p. 87). 8. Also see Kaplan’s ‘The Place of Women in Fritz Lang’s The Blue Gardenia’ (1998b, pp. 81– 7) where she argues that the film exposes the essential contradictions between dominant male discourse and the subordinate, repressed discourse of women in patriarchy. 9. Also see Jans B. Wagner’s ‘Racing the paradigm: The Whiteness of Film Noir’ in Dames in the Driver’s Seat (2005, pp. 29– 35). 10. As Brooks (2001, p. 2) identifies, similar themes focusing on ageing stars struggling to deal with their redundancy are also central to ’s 1968 films What Ever Happened to Baby Jane and The Killing of Sister George, and Joseph L. Mankiewicz’s 1950 drama All About Eve.

2 The New Fatale: 1980– 1999

1. See Alexander Wilson’s ‘Friedkin’s Cruising, Ghetto Politics, and Gay Sexuality’ (1981) and Scott Tucker’s ‘Sex, Death, and Free Speech: The Fight to Stop Friedkin’s Cruising’ (1979). 2. Though this is something I examine in subsequent chapters, it is worth noting that the fille fatale can also be conceptualised in relation to masquerade where it can be extended to childishness, a modus operandi deployed by the deadly girl when convenient (as in Hard Candy for instance). Similarly, the construction of the homme fatal can also be explained in the context of masquerade. 3. Although this is far from the general rule since many neo- noirs still pun- ish their deadly women. As well as Body of Evidence, Red Rock West, ’s U Turn (1997), and Out of Time (Carl Franklin, 2003) are also exam- ples where the fatale is killed for her transgressions. 4. A noteworthy example of a recent film that appears to explore the sub- jective experiences of a femme fatale is ’s 2014 adaptation of Gillian Flynn’s 2012 novel . But as the narrative unfolds, it is revealed that all the experiences disclosed by the deadly (unbalanced) woman are a complete fabrication. 168 Notes

5. For an in depth discussion on Fatal Attraction see Suzanne Leonard’s 2009 book titled Fatal Attraction. 6. This situates her in opposition to neo- noir fatales like Matty, Catherine, and Bridget who are castrating because they outmanoeuvre, outsmart, and emasculate men (Doane, 1991, p. 122). 7. It is worth noting that all of these films have been remade; The Last House on the Left in 2009 by Dennis Iliadis and I Spit on Your Grave in 2010 by Steven Monroe, with a sequel by the same director released in 2013. Lipstick was remade in India firstly as Insaf Ka Tarazu (Beldev Raj Chopra, 1980) then as Edi Dharmam Edi Nyayam (Bapu, 1982). 8. In a similar vein, Creed (1993, p. 124) argues that other 1990s thrillers such as also debunk the conventions of the rape- revenge narrative by showing it as motiveless, implying that women always have a desire for revenge, which can express itself at any time.

3 Mad, Bad, and Queer

1. Similarly, gay characters are increasingly prevalent in mainstream popular culture, though often such figures are problematic in that they tend to be condescending, framing gay men in the context of stereotypical modes of representation. The contentious character Cameron (Eric Stonestreet) in ABC’s commercially successful production Modern Family (2009– Present) is one such example. 2. Sixteenth century Hungarian countess Erzsébet Báthory de Ecsed, who reputedly tortured and murdered over 650 virgin girls, bathing in their blood to preserve her youth is also cited as an influence on the develop- ment of the cinematic female vampire (see Zimmerman, 2005, p. 23). 3. It is also perhaps no accident that Catherine’s profession specifically involves the scrutinisation of the female sexual organs.

4 Con- Artists, Valkyries, and Revenge Seekers

1. Though in keeping with the kinds of conflicting dilemmas that emerge as central to postfeminist discourse, the article describes how full time moth- ers also experience concerns that they will not be recognised as capable, creative individuals and that a brilliant life may be passing them by – an juxtaposed by those of working mothers who fear that they are ‘sacrificing their families on the altar of their own ambition’ (Gardner, 2014). 2. It is worth mentioning that in contrast to representations that glamourise sex workers, there are also a number of films depicting the occupation in a stark, often brutal manner, drawing attention to the darker side of the industry. Examples where this is the case include Lilya 4- Ever (Lukas Moodysson, 2002), to Brighton (Paul Andrews, 2006), and Candy (Neil Armfield, 2006). Notes 169

3. While there is some racial diversity in regard to fatal women (albeit in an assimilated form), this does not extend to the deadly girl and man. Here, Anglo characters are overwhelmingly dominant.

5 What Are (Fatal) Little Girls Made of?

1. A later film that follows in a very similar vein to Mildred Pierce is Edward Dmytryk’s Where Love Has Gone (1964). Based on real life events surround- ing the murder of actress ’s lover at the hands of her daughter , the narrative focuses on a fourteen- year- old girl who shares a lover with her mother but ends up killing him. 2. Tennessee William’s script for Baby Doll describes a magazine called ‘Spicy Fiction’ and a tube of ointment on the bed table behind Archie, firmly attaching sexual overtones to his voyeuristic actions (Williams, 1957, p. 8). 3. ’s 1997 remake of Lolita also casts Humbert Humbert (played by ) as a love- struck- fool and Lolita as sexually assertive, knowing, and in control. 4. Themes of childishness as masquerade are taken to bizarre extremes in Jaume Collet- Serra’s 2009 horror Orphan, where the crazed nine- year- old antagonist is revealed to be a 33- year- old woman with a hormone disorder who destroys her adoptive family by seducing the father and then murder- ing him. 5. In ’ play 27 Wagons Full of Cotton, which Baby Doll is primarily based on, the character Archie Meighan (named Jake in the original text) is described as being 60 years old (Williams, 1953, p. 3). 6. It is important to note that despite adopting traditionally male coded per- formative actions, the phallic, at- risk girl retains her femininity and desir- ability to men by revealing herself to have similar sexual appetites. This aligns her with Levy’s observations about what she describes as ‘raunch culture’, which incorporates trends such as stripper chic (Levy, 2005, p. 4). 7. Fifteen-year- old Vanessa Lutz (Reese Witherspoon) in Freeway is also from a poverty stricken dysfunctional family and is left to fend for herself, but rather than being obsessed with wealth, the film is a black comedy that plays on the little- red- riding- hood narrative.

6 Playtime Is Over

1. I will explore a fourth example of the deadly girl as she appears in the film Mr Brooks in Chapter 8, although the main focus is her homme fatal father. 2. Also see April Miller’s ‘The Hair That Wasn’t There Before: Demystifying Monstrosity and Menstruation in “Ginger Snaps” and “Ginger Snaps Unleashed”’ (2005, pp. 281– 303) and Aviva Briefel’s ‘Monster Pains: Masochism, Menstruation, and Identification in the ’ (2005, pp. 16– 27). 170 Notes

3. The theme of transformation is also attached to femininity in Thirst. When Tae- ju (Kim Ok- bin) becomes a vampire she likewise takes to wear- ing stiletto heels and alluring clothes for the first time. 4. Also see Martin Fradley’s ‘“Hell Is a Teenage Girl”?: Postfeminism and Contemporary Teen Horror’, (2013, pp. 204– 21). 5. More generally, the breakdown of the time honoured order of female sub- ordination and male domination that has gained momentum since the end of World War II is often defined as a crisis of masculinity, although the extent and inclusiveness of this predicament is a much debated topic (as theorists including Tim Edwards, Arthur Brittan, and David Buchbinder contend). 6. A film that reverses ‘protest masculinity’ is Paul Goodman’s 2006 neo- noir Suburban Mayhem. Here 19- year- old fille fatale Katrina Skinner (Emily Barclay) possesses the frenzied and showy displays of defiance charac- teristic of protest masculinity, aligning her with the phallic, at- risk girl. In contrast, the male characters are passive, ineffectual, and neurotic, expressing instead masochistic about shifting gender roles in society (see Lindop, 2010). 7. While Chloé features a scene involving voice- over dialogue of the femme fatale she is not the central subject of the film, her love interest Catherine is.

7 Duplicity, Desire, and the Deadly Man

1. Sharon Tay also identifies a Bluebeard thread to the Gothic film – a tale originating in French folklore about a violent nobleman who has the habit of murdering his wives (Tay, 2010, p. 265). Edgar G. Ulmer makes direct reference to this myth in his Gothic infused noir Bluebeard (1944), which blends the Bluebeard legend with a tale about a charismatic artist and puppeteer who murders the young woman that models for his paint- ings. It is also worth noting that John Polidori’s aristocratic bloodsuck- ing antagonist Lord Ruthven, in his 1819 novella The Vampyre: A Tale also aligns closely to the mortal homme fatal. Travelling from town to town seducing virtuous women before glutting himself on their blood, Ruthven is compelling and desirable yet simultaneously disconcerting, his alluring veneer masking a dark side that is dangerous and deeply sadistic. It is this serpentine ability to masquerade as one thing but to be something else entirely that captures the essence of the deadly man. Though the male vampire and the homme fatal are not aligned to the same extent female incarnations of these characters are, the influence of Polidori’s Ruthven – considered to be one of the first literary examples of the vampire as it is recognised in popular culture today, is certainly apparent in many films noir as my earlier examination of Stoker reveals. 2. Another Gothic inspired noir is Orson Welles’ The Stranger (1946), except that the film breaks from the Gothic tradition in that it is played out from the perspective of a male detective rather than the terrorised wife. Notes 171

3. Krutnik (1991, p. 195) also discusses how female experience in these early thrillers tends to be negated or invalidated through their representation as false consciousness or hallucination. 4. It is worth noting that this ending sits in stark contrast to the novel (and purportedly Hitchcock’s preferred ending) where Lina’s suspicions are confirmed when she willingly drinks the glass of poisoned milk given to her by Johnny. 5. Sitting mid- way between earlier Gothic woman’s films, where the hero- ine is passive and easily duped and post- texts where she is far more active and autonomous is So Evil My Love. Though naïve, besotted widow Olivia Harwood (Ann Todd) allows herself to be used as a tool by homme fatal Mark Bellis (Ray Millard), her feelings of guilt over her active participation in his blackmail scheme eventually become over- whelming, motivating her into taking matters into her own hands by killing him. 6. As Tay (2010, p. 265) argues, with many men on the battlefield and more women entering the labour force, studios anticipated a considerably larger female movie going population, hence the burgeoning popularity of films featuring women in active central roles. 7. For further discussion on female representations in Phantom Lady see Gates (2011, pp. 16– 7), Krutnik (1991, p. 194), and Helen Hanson (2007, pp. 27– 32). 8. It is important to note that this is not the only mode of neo- noir that the deadly man appears in. Bad Influence (Curtis Hanson, 1990), The Talented Mr. Ripley, Internal Affairs (Mike Figgis, 1999), and The Killer Inside Me are all examples of films featuring hommes fatales as antagonists but that do not fit with the women’s psychothriller mould. Rather than singling out women as their prey, the fatal men in these films either target men, or are non- gender specific in their choice of victim. The people investigating them are not female either, although the partner of the primary investi- gator in Internal Affairs is a woman. 9. Though not strictly a women’s psychothriller, The Stepfather draws on elements of the style, with the adolescent daughter of Jerry’s latest fam- ily functioning as an investigator, hunting out the gory truth about her serial killing father substitute. 10. In Jagged Edge, the protagonist’s career aspirations are further problema- tised by depicting her as a divorced mother of two struggling to balance work and family life. In Guilty as Sin the heroine’s decision to take on the homme fatal as a client not only places a strain on her personal relation- ship, but gets her boyfriend beaten up and her mentor/father substitute murdered. 11. This builds on an important point made by Doane in regard to clas- sic Gothic woman’s films. As Doane (1987b, p. 129) contends, here the heroines are not made the subject of the erotic gaze in so much as scopophilic energy is deflected in other directions and transformed into narrative paranoia where seeing is now invested with fear, anxiety, and horror. Though paranoia still involves an adoption of the feminine 172 Notes

position, it none the less demonstrates a precursory shift away from voyeuristic interrogation that has been expanded upon in the women’s psychothriller. 12. Also see Tasker’s ‘The Family in Action’ (2004, pp. 252– 56). 13. Lilly (played by Angelica Huston) in The Grifters (based on Jim Thompson’s 1963 novel of the same name) is a notable exception to this statement. She is both a mother and a femme fatale, but she abuses her matriarchal role by engaging in an incestuous relationship with her son, eventually killing him in a greed fuelled attempt to steal his money.

8 Turning the Spotlight on the Homme Fatal

1. Another noir that features a masculinised female investigator is Philip Kaufman’s Twisted (2004). Inspector Jessica Shepard (Ashley Judd) is depicted in a mode typical of male detectives. She is hard- boiled, has a drinking problem, and her sex life comprises of frequent one- night- stands. But in keeping with the tradition of the Gothic woman’s film, she begins to doubt her sanity when her casual lovers start being systematically mur- dered (see Linda Mizejewski’s ‘Dressed to Kill: Postfeminist Noir’ [2005, pp. 121– 27] for further discussion on Twisted). 2. Other thrillers that align the audience with the killer include Michael Powell’s now seminal film Peeping Tom (1960) and Mary Harron’s 2001 film American Psycho (developed from Bret Easton Ellis’ 1991 novel of the same name). 3. Dexter’s depraved behaviour can also be exonerated because he only kills those who ‘deserve’ it. Hence, as Ashley Donnelly (2012, p. 16) argues, his character actually serves to reinforce conservative ideals of through a clear distinction of ‘good’ and ‘bad’. 4. A film that In the Cut bears intertextual similarities to is ’ Looking for Mr Goodbar (1977), which also offers a deeply pessi- mistic view of relationships through the film’s focus on the experiences of a teacher who is drawn into a series of dysfunctional and increasingly violent affairs. 5. Unfolding events such as this are abstractly revealed through a series of poems that appear on subway billboards. For example the verse: ‘It’s off in the distance, it came into the room, it’s here in the circle’ (visually embel- lished with splashes of red paint, emulating blood) forewarns that danger is getting closer. 6. It is worth noting that Antje Ascheid links themes of disarticulation in In the Cut to the conflicting tensions surrounding romantic and sexual relationships (tensions that are also indicative of postfeminist discourse itself). For Ascheid, the films deeply cynical view of relationships coupled with themes centring on a desire for dependency construct female identity as disarticulated in that it lacks unity and integration (pending publica- tion, pp. 11– 2). Notes 173

7. The lighthouse is an intertextual reference to Virginia Woolf’s 1927 novel To the Lighthouse – a book that is part of Frannie’s curriculum and one that focuses on feelings of loss and the complexity of human relationships. 8. Frannie’s ex- boyfriend John Graham ( Bacon) is also embarrassingly pathological and neurotic in his pursuit of love, refusing to take Frannie’s rejection of him gracefully. Selected Filmography

A Fool There Was, 1915, Dir. Frank Powell. Angel Face, 1952, Dir. . Anna Christie, 1930, Dir. Clarence Brown. Asphalt, 1929, Dir. Joe May. Baby Doll, 1956, Dir. . Baby Face, 1933, Dir. Alfred F. Green. Bad Influence, 1990, Dir. Curtis Hanson. Badlands, 1973, Dir. . Basic Instinct, 1992, Dir. . , 1948, Dir. Jacques Tourner. Between Midnight and Dawn, 1950, Dir. Gordon Douglas. Beyond the Forest, 1949, Dir. . Bicycle Thieves, 1948, Dir. . Big Heat, The, 1953, Dir. Fritz Lang, 1953. Big Sleep, The, 1946, Dir. Howard Hawks. Black Angel, 1946, Dir. Roy William Neil. Black Dahlia, The, 2006, Dir. Brian De Palma. Blonde Venus, 1932, Dir. Josef von Sternberg. Blue Angel, The, 1930, Dir. Josef von Sternberg. Blue Gardenia, The, 1953, Dir. Fritz Lang. Blue Steel, 1989, Dir. . Blue Velvet, 1986, Dir. David Lynch. Body Heat, 1981, Dir. . Body of Evidence, 1993, Dir. Uli Edel. Body of Influence, 1993, Dir. Gregory Dark. Born to Kill, 1947, Dir. Robert Wise. Bound, 1996, Dir. Andrew and Lana/Larry Wachowski. Brick, 2005, Dir. . Call North Side 777, 1948, Dir. Henry Hathaway. Camille, 1936, Dir. . Carrie, 1976, Dir. Brian De Palma. Cat People, 1942, Dir. . Cherry Crush, 2007, Dir. Nicholas DiBella. Chinatown, 1974, Dir. Roman Polanski. Chloé, 2009, Dir. . Cruel Intentions, 1999, Dir. Roger Kumble. Cruising, 1980, Dir. William Friedkin. Crush, The, 1993, Dir. Alan Shapiro. Dark Mirror, The, 1946, Dir. Robert Siodmak. Dead Ringers, 1988, Dir. .

174 Selected Filmography 175

Death Proof, 2007, Dir. . Derailed, 2005, Dir. Mikael Håfström. Descent, 2007, Dir. Talia Lugacy. Detour, 1945, Dir. Edgar G. Ulmer. Dexter, 2006– 2013, Showtime. Devil in a Blue Dress, 1995, Dir. Carl Franklin. Devil is a Woman, The, 1935, Dir. Josef von Sternberg. Disclosure, 1994, Dir. Barry Levinson. Double Indemnity, 1944, Dir. . Draculas Daughter, 1936, Dir. Lambert Hillyer. Dragonwyck, 1946, Dir. Joseph L. Mankiewicz. Dr Jekyll and Mr Hyde, 1931, Dir. . Eternal, 2004, Dir. Wilhelm Liebenberg and Federico Sanchez. Et Mourir de Plaisir, 1960, Dir. Roger Vadim. Exorcist, The, 1973, Dir. William Friedkin. , 1944, Dir. Jacques Tourneur. Farewell, My Lovely, 1975, Dir. Dick Richards. Fatal Attraction, 1987, Dir. Adrian Lyne. Female, 1933, Dir. Michael Curtiz, , William A. Wellman. Femme Fatale, 2002, Dir. Brian De Palma. Flesh and the Devil, 1926, Dir. Clarence Brown. Freeway, 1996, Dir. Matthew Bright. Gaslight, 1944, Dir. George Cukor. Gilda, 1946, Dir. Charles Vidor. Ginger Snaps, 2000, Dir. John Fawcett. Grifters, The, 1990, Dir. Stephen Frears. Guilty as Sin, 1993, Dir. . Hand That Rocks the Cradle, The, 1992, Dir. Curtis Hanson. Hannibal, 2013– Present, Creator: Brian Fuller. Hard Candy, 2005, Dir. David Slade. High Sierra, 1941, Dir. Raoul Walsh. High Wall, 1947, Dir. Curtis Bernhardt. House of Bamboo, 1955, Dir. Samuel Fuller. House on 92nd Street, 1945, Dir. Henry Hathaway. House on Telegraph Hill, The, 1951, Dir. Robert Wise. Human Desire, 1954, Dir. Fritz Lang. Hunger, The, 1983, Dir. Tony Scott. Internal Affairs, 1999, Dir. Mike Figgis. In the Cut, 2003, Dir. . I Spit on Your Grave, 1978, Dir. Meir Zarchi. I Wouldn’t Be in Your Shoes, 1948, Dir. William Nigh. Jagged Edge, 1985, Dir. Richard Marquand. Jennifer’s Body, 2009, Dir. Karyn Kusama. Kill Bill Volumes I and II, 2003; 2004, Dir. Quentin Tarantino. Killer Inside Me, The, 2010, Dir. Michael Winterbottom. Killers, The, 1946, Dir. Robert Siodmak. 176 Selected Filmography

Killers, The, 1964, Dir. Don Siegel. Kiss Before Dying, A, 1956, Dir. Gerd Oswald. Kiss Before Dying, A, 1991, Dir. James Dearden. Klute, 1971, Dir. Alan J. Pakula. Lady From Shanghai, The, 1947, Dir. Orson Welles. Lady on a Train, 1945, Dir. Charles David. La Fille de L’Eau, 1925, Dir. . Last House on the Left, The, 1972, Dir. Wes Craven. Last Seduction, The, 1994, Dir. John Dahl. Laura, 1944, Dir. Otto Preminger. Léon: The Professional, 1994, Dir. Luc Besson. Lipstick, 1976, Dir. Lamont Johnson. Little Caesar, 1931, Dir. Mervyn LeRoy. Lodger: A Story of London Fog, The, 1927, Dir. . Lolita, 1962, Dir. . Lolita, 1997, Dir. Adrian Lyne. Looking for Mr. Goodbar, 1977, Dir. Richard Brooks. Lost Highway, 1997, Dir. David Lynch. Lured, 1947, Dir. . , 1971, Dir. Jimmy Sangster. M, 1931, Dir. Fritz Lang. Macao, 1952, Dir. Joseph von Sternberg and . Malicious, 1995, Dir. Ian Corson. Maltese Falcon, The, 1941, Dir. . Masquerade, 1988, Dir. Bob Swaim. Match Point, 2005, Dir. . Mickey Spillane’s Mike Hammer, 1956– 1959, Revue Productions. Mildred Pierce, 1945, Dir. Michael Curtiz. Monster, 2003, Dir. Patty Jenkins. Morocco, 1930, Dir. Josef von Sternberg. Mr Brooks, 2007, Dir. Bruce E. Evans. Mulholland Drive, 2001, Dir. David Lynch. Murder is My Beat, 1955, Dir. Edgar G. Ulmer. Murder, My Sweet, 1944, Dir. Edward Dmytryk. My Name is Julia Ross, 1945, Dir. Joseph H. Lewis. Naked Kiss, The, 1964, Dir. Samuel Fuller. Nathalie, 2003, Dir. Anne Fontaine. Night Eyes, 1990, Dir. Jag Mundhra. Night Must Fall, 1937, Dir. Richard Thorpe. Night of the Hunter, The, 1955, Dir. Charles Laughton. Night Rhythms, 1992, Dir. Gregory Dark. Nosferatu, 1922, Dir. Friedrich Murnau. Obsessed, 2009, Dir. Steve Shill. Out of the Past, 1947, Dir. Jacques Tourneur. Out of Time, 2003, Dir. Carl Franklin. Pacific Heights, 1990, Dir. . Selected Filmography 177

Persona, 1966, Dir. . Phantom Lady, 1944, Dir. Robert Siodmak. Play Misty For Me, 1971, Dir. , 1971. Poison Ivy, 1992, Dir. Katt Shea. Postman Always Rings Twice, The, 1946, Dir. . Presumed Innocent, 1990, Dir. Alan J. Pakula. Pretty Baby, 1978, Dir. Louis Malle. Private Hell 36, 1954, Dir. Don Seigel. Pursued, 1947, Dir. Raoul Walsh. Rebecca, 1940, Dir. Alfred Hitchcock. Red- Headed Woman, 1932, Dir. Jack Conway. Red Rock West, 1993, Dir. John Dahl. Ride the Pink Horse, 1947, Dir. Robert Montgomery. Scarface, 1932, Dir. Howard Hawk. Scarlet Street, 1945, Dir. Fritz Lang. Sea of Love, 1989, Dir. Harold Becker. Secret Beyond the Door, 1947, Dir. Fritz Lang. Shadow of a Doubt, 1943, Dir. Alfred Hitchcock. Shanghai Express, 1932, Dir. Josef von Sternberg. Shanghai Gesture, The, 1941, Dir. Joseph von Sternberg. Shock Corridor, 1963, Dir. Samuel Fuller. , 1995, Dir. Paul Verhoeven. Silence of the Lambs, The, 1991, Dir. . , 2005, Dir. and Robert Rodriguez. Sin City 2: A Dame to Kill For, 2014, Dir. Frank Miller and Robert Rodriguez. Single White Female, 1992, Dir. Barbet Schroder. So Evil My Love, 1948, Dir. , Spellbound, 1945, Dir. Alfred Hitchcock. Spiral Staircase, The, 1945, Dir. Robert Siodmak. Stagecoach, 1939, Dir. . Stepfather, The, 1987, Dir. Joseph Ruben. Stoker, 2013, Dir. Park Chan- wook. Strange Love of Martha Ivers, The, 1946, Dir. Lewis Milestone. Stranger on the Third Floor, 1940, Dir. Boris Ingster. Stranger, The, 1946, Dir. Orson Welles. Suburban Mayhem. 2006, Dir. Paul Goodman. Sudden Fear, 1952, Dir. David Miller. Sunset Boulevard, 1950, Dir. Billy Wilder. Suspicion, 1941, Dir. Alfred Hitchcock. Swimfan, 2002, Dir. John Polson. Taking Lives, 2004, Dir. J. D. Caruso, 2004. Talented Mr. Ripley, The, 1999, Dir. Anthony Minghella. Temp, The, 1993, Dir. . Temptress, The, 1926, Dir. Fred Niblo. Terminator, 1984, Dir. . Terminator 2: Judgement Day, 1991, Dir. James Cameron. 178 Selected Filmography

Thirst, 2009, Dir. Park Chan- wook. Touch of Evil, 1958, Dir. Orson Welles. Twins of Evil, 1971, Dir. John Hough. Twisted, 2004, Dir. Philip Kaufman. Undercurrent, 1946, Dir. . U Turn, 1997, Dir. Oliver Stone. Vampire Lovers, The, 1970, Dir. Roy Ward Baker. Vertigo, 1958, Dir. Alfred Hitchcock. When Strangers Marry, 1944, Dir. William Castle. , 1950, Dir. . Where Has Love Gone, 1964, Dir. Edward Dmytryk. Wild Things, 1998, Dir. John McNaughton. Woman in the Window, The, 1944, Dir. Fritz Lang. Woman on the Run, 1950, Dir. Norman Foster. Works Cited

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Aarons, Bonnie, 67 Barton, S., 137 Abandoned, 132 Basehart, Richard, 128 abjection, 48, 60, 71–4, 106 Basic Instinct, 2, 46–9, 51, 53, 72, 78, Affleck, Casey, 151 102, 135, 168n8 Afternoon Delight, 84 Baudrillard, J., 66, 81 ageing spider woman, 41–2 Baxter, Ann, 36 alienation, 7, 49, 81, 119 Beaudine, William, 96 Allen, Woody, 33 Becker, Harold, 36 American Psycho, 172n2 Before the Fact, 127 Amityville Horror, The, 111, 154 Bennett, Joan, 22 Andersson, Bibi, 109 Berg, Peter, 49 Andrews, Dana, 24 Bergman, Ingmar, 62, 109, 110 Animal Kingdom, 120 Bergman, Ingrid, 32, 132 Aniston, Jennifer, 77 Bergstrom, Janet, 37 Anna Christie, 30 Berlin Express, 8 anti-feminism, 51 Best, Willie, 38 Aoki, Devon, 83 Between Midnight and Dawn, 8 Are We Officially Dating?, 60 Beyond the Forest, 32, 40 Arkenhout, Martin, 143 Bicycle Thieves, 8 Asphalt, 7 Big Fat Kill, The, 76 Astor, Mary, 122 Big Heat, The, 35 ‘at-risk’ girl, 93, 101, 102, 169n6, Big Sleep, The, 35, 94, 167n4 170n6 Big Wedding, The, 60 Australian, The, 105 bisexuality, 47–9, 59, 61, 68, 71, 75 Black Angel, 132 Baby Doll, 94–5, 169n2, 169n5 Black Dahlia, 48 Baby Face, 30–2 Black Swan, 48 Backlash: The Undeclared War Against Blackrock, 120 Women, 2 Blonde Venus, 29 Bad Influence, 171n8 Blue Angel, The, 7, 29 Badalamenti, Angelo, 66 Blue Gardenia, The, 36, 37 Badlands, 98 Blue Steel, 133, 134 Bakhtin, Mikhail, 86 Blue Velvet, 66 Ball, Lucille, 36 Bluebeard, 170n1 Barbour, Malcolm, 8 Blyth, Ann, 5 Barclay, Emily, 170n6 Body Heat, 2, 45, 46, 49, 51–2, 56 Barker, Carroll, 94 Body of Evidence, 2, 45, 46, 49, 74, Barker, David, 46, 67 167n3 Barra, Theda, 29 Body of Influence, 45 Barrymore, Drew, 33, 98 Bonnie and Clyde, 1

189 190 Index

Borde, Raymond, 1, 28 childishness, as masquerade, 93, 96, Born to Kill, 32, 133 97, 114, 122, 167n2, 169n4 Bould, Mark, 6, 7 Chinatown, 1 Bound, 47, 48, 61 Chloé, 4, 16, 42, 48, 59, 60, 69–75, Boyer, Charles, 32 109, 135, 170n7 Boyle, Lara Flynn, 46, 54 Christensen, Erika, 102 Boys, The, 120 Christopher, N., 41 Brando, Jocelyn, 35 Clark, Dorothy, 151 Breen, Joseph, 25 class, 88–91 Brick, 4, 10, 17, 97, 102, 104, 118, Closer, 84 120–1, 123 Clover, Carol, 114 Bridesmaids, 60 Cohen, Margaret, 139 Bridget Jones’s Diary, 13, 161 Connell, R. W., 4, 120 Bronfen, Elisabeth, 26 Conway, Jack, 31 Bronson, 120 Cook, Pam, 35 Brooks, Jodi, 41 Copjec, J, 34 Brown, Clarence, 30 Cops, 8 Buchbinder, David, 4 Cortese, Valentina, 128 Build My Gallows High, 6 Costa, James, 143 Bullock, Sandra, 42 Costner, Kevin, 151 Butterfly Kiss, 48 Coulthard, L., 101 Butterss, Philip, 4, 120 Countess Dracula, 68 Cox, Anthony, 127 Cain, James M., 2, 6 Craven, Wes, 55 Call Northside 777, 8 Crawford, Joan, 127 Cameron, James, 10, 139 Creed, Barbara, 48 Camille, 7, 30 Cross, Christopher, 25 Campbell, Neve, 33, 97 Cruel Intentions, 48, 97, 102 Campion, Jane, 4 Cruising, 49 ‘can-do’ girls, 93, 101 Crush, The, 98, 102 Candy, 168n2 Cubrt, Vladimir, 111 Carmilla, 16, 59–68, 126 Cukor, George, 7, 32 Carrie, 108 Curtiz, Michael, 5, 31 Caruso, J. D., 4 Customer is Always Right, The, 76 Caspary, Vera, 7 Cassel, Vincent, 77 Dafoe, William, 49 Castle of Otranto, The, 126 Dali, Salvador, 132 castrated female monster, 54 Dana Andrews, 24 Cat People, 8, 10, 37, 39 Dano, Paul, 143 Chandler, Raymond, 1, 6 Dark Mirror, The, 157 Chan-wook, Park, 4 Dark Side of Screen, 6 Charmed, 145 Daughters of Darkness, 67–8 Chasing Amy, 61 Davis, Bette, 32, 40 Chatterton, Ruth, 31 Dawson, Rosario, 83, 88 Chaumeton, Étienne, 1, 28 de Beauvoir, Simone, 97 Cherry Crush, 33 De Palm, Brian, 108 Index 191

De Sica, Vittorio, 8 Drake, Doňa, 40 Dearden, James, 33, 133 Draper, Evelyn, 2 Death Proof, 57, 87 duplicity, 49, 72, 137 defamiliarisation, 66 Duvivier, Julien, 8 Dekker, Albert, 166 Duya, Dan, 32 Deleuze, Gilles, 28 Dyer, Richard, 40 delinquency, 49 DeMille, Cecil B., 41 Eastwood, Clint, 102, 139 Derailed, 4, 10, 16, 81, 91–2, 135 economic equality, 27, 44 tensions, contradictions, and Edi Dharmam Edi Nyayam, 168n7 nostalgia in, 77–9 Edwards, Tim, 4 Descent, 4, 10, 13, 14, 16, 40, 57, Egoyan, Atom, 4, 59 88–91, 92 Ehrenreich, Alden, 108 Descent, The, 10 Elena Undone, 61 Desmond, Norma, 35, 41 Elwes, Cary, 102 destruction, 49, 59 empowerment, 51, 93, 145 Detour, 20, 22–4, 35, 82 equality, 85, 91, 138 deviance, 59 economic, 27, 44 Devil in a Blue Dress, 9–10 gender, 14, 101, 136 Devil Is a Woman, The, 7, 29 professional, 27 Dexter, 151, 153 social, 44 Diawara, Manthia, 40 Et Mourir de Plaisir, 67 DiBella, Nicholas, 33 Eternal, 67 Dieterle, William, 31 Evans, Bruce E., 4 Dietrich, Marlene, 29 Exorcist, The, 108 Dietrichson, Phyllis, 31 Experiment Perilous, 8, 127, 128 disarticulating feminism, 13 Disclosure, 53, 56, 78 Faking It, 61 dislocation, 7 Faludi, Susan, 2, 11–12 Dmytryk, Edward, 5, 169n1 Fanu, J. Sheridan Le, 16, 59, 63, 67, Doane, M. A., 39 70, 126 ‘Does Liberty and Justice for All Farewell, My Lovely, 1, 6 Include Our Boys?’, 100 Farrimond, Katherine, 48 Doherty, Mick, 38 Fatal Attraction, 3, 12, 54, 71, 74, 76, Doherty, Thomas, 30 80, 90, 102 domestic violence, 56 fatal man, framing, 136–40 Double Indemnity, 2, 5, 6, 22, 23, 24, Faust, Chad, 88 28, 40, 49, 52 faux fatale, 36, 37, 42, 53, 167n5 doubles, 71–4 Fawcett, John, 108 Douglas, Gordon, 8 Felski, Rita, 150 Douglas, Michael, 49 female investigator noir, 130–3 Dr Jekyll and Mr Hyde, 126 female victimisation/ Dracula, 68, 106 victimhood, 56 Dracula’s Daughter, 67 Female, 31 Dragonwyck, 127, 128 femininity, as masquerade, 51, 78, Drake, Bill, 40, 166n3 94–7, 122, 136, 137, 147 192 Index

femme fatale, 1, 2, 9, 15, 16, 19, 37, Gellar, Sarah Michelle, 102 40, 48, 53, 54, 57, 59, 70, 72, gender 93, 133 anxiety, and homme fatal, 145–8 American culture, 33–7 equality, 14, 101, 136 post-World War II, 33–7 hierarchy, 60 pre-millennial, 44 identity, 83 in psychoanalytic theory, 26–8 performativity, 126 sensual seductresses, 20–5 politics, 118 fetishisation, 90 power relations, 15, 17, 33, 36, 42, fille fatale, 3, 4, 16, 17, 52, 93, 167n2 48, 54–5, 110 monstrous, 106–9 power structure, 57, 117 and older man, 97–9 Genz, Stephanie, 13 film noir, 1, 4–9, 15, 37, 94 Gere, Richard, 139 lesbian/bisexual coupling in, German Expressionism, 7 46–8, 58 Gershon, Gina, 47 racial anxiety in, 37–40 Gilda, 22, 24, 25, 62 Film Noir: The Encyclopaedia, 6 Gill, Rosalind, 11, 14–15 Fiorentino, Linda, 46 Ginger Snaps, 108 Flesh and the Devil, 30 Girl Next Door, The, 84 Flynn, Gillian, 167n4 girl power, 99–100 Fonda, Jane, 82 Girl With the Dragon Tattoo, The, Fontaine, Anne, 59 48, 57 Fontaine, Joan, 32, 128 girlhood, as masquerade, 94–7 A Fool There Was, 29 Girls Gone Wild, 50 44 Inch Chest, 120 Glitre, Kathrina, 10 Foster, Jodi, 134, 135 Gone Girl, 167n4 Foucault, Michel, 50 Good, Megan, 90, 121 Fox, Megan, 108 Goode, Matthew, 105 fragmentation, 7, 137 Gordon-Levitt, Joseph, 118 Franklin, Carl, 40 Gotham, 61 freedom, 145 gothic horror Freeway, 81, 169n7 Carmilla, 62–7 Freud, Sigmund, 65 homme fatal and, 126–30 Friedkin, William, 49 Mulholland Drive, 62–7 Fuller, Samuel, 6 Grahame, Gloria, 32 Funny Games, 120 Grant, Cary, 32 Gray Matters, 61 Garbo, Greta, 29, 30 Green, Alfred F., 30 Gardner, Ava, 21 Green, Eva, 82 Garfield, John, 78 Greer, Jane, 35 Garnett, Tay, 2, 22, 78 Griffith, Melanie, 136 Gaslight, 32, 127, 128 Grifters, The, 172n13 Gates, Philippa, 130–1 grotesque realism, 87 gay, 49, 168n1 grrrl postfeminism, 14, 99, gaze, 27, 50 113–17 disarticulated, 158–60 Guilty as Sin, 133–5, 171n10 male, 50, 51, 69, 115, 159, 160 Gumb, Jame, 140 Index 193

Haas, Lukas, 118 Homes, Geoffrey, 6 Håfström, Mikael, 4 homme fatal, 3–5, 13, 17, 18, 32, Hall, Michael C., 151 36, 49, 52, 125, 132–4, 136, Hamad, Hannah, 4, 138 142–65 Hamilton, Linda, 139 disarticulating, framing, 156–8 Hammett, Dashiell, 6, 119 gender anxiety and, 145–8 Hand That Rocks the Cradle, The, 102, and gothic horror, 126–30 167n5 homophobia, 120 Hannibal, 111, 112 , 71 Hard Candy, 4, 13, 14, 17, 57, 97, Hoodlum, 166n3 104, 112, 123, 167n2 Hopkins, Anthony, 135 and deadly grrrl, 113–17 House of Bamboo, The, 38 Hard Goodbye, The, 76 House on 92nd Street, The, 8 Harring, Laura Elena, 62 House on Telegraph Hill, The, 127, Harris, Anita, 93 128, 130, 140 Harris, Theresa, 30, 100–1 Hughes, Dorothy M., 7 Hatch, Kirsten, 95, 98 Human Desire, 32 Hathaway, Henry, 8 human tarantulas, 20–5 Haute Tension, 48 Hunger, The, 67 Hawk, Howard, 7, 35 Hurt, William, 49, 151 Hawke, Ethan, 143, 144, 146 Huston, John, 5 Hays, Will H., 25 hypereroticism, 49 Hays Code, 25, 30, 38 Hayworth, Rita, 22 I Spit on Your Grave, 55, 56, 168n7 Heatherton, Joey, 98 I Wouldn’t Be in Your Shoes, 132 Heavenly Creatures, 48 Idiot Box, 120 hedonism, 39 Imagine Me and You, 61 hegemony, 11, 14, 26, 43, 110, 154, impotence, 44, 112 158, 160–1, 163 In a Lonely Place, 6 heimlich, 65 In the Cut, 4, 13, 18, 142, 155–63, Hemingway, Ernest, 1 164–5, 172n6 Heston, Charlton, 38 independence, 145 heteronormativity, 49 Ingster, Boris, 6 in popular culture, 60–2 insecurity, 71–4 heterosexuality, 15, 28, 48, 50, instability, 137 59–61, 69, 71, 72, 74–6, 115, Internal Affairs, 139, 153, 171n8 119, 160, 161 Isabelle, Katharine, 108 High Sierra, 38 Italian Neo-Realism, 8 High Wall, 132 Hillyer, Lambert, 67 Jagged Edge, 133–5, 137, 171n10 Hirsch, Foster, 6, 8, 9, 52 Jeffords, Susan, 139 Hitchcock, Alfred, 8, 27, 32, Jennifer’s Body, 48, 57, 108 126, 127 Jentsch, Ernst, 64–5 Hoffman, E.T.A., 65 Johnson, Lamont, 55 Holden, William, 22 Johnson, Rian, 4, 118 Hollywood Motion Picture Code, 25 Jolie, Angelina, 143 Holmlund, Chris, 14, 72 Jones, Amelia, 3, 12 194 Index

Jones, Bridget, 13 LeSalle, Mick, 29 Judging Amy, 81 lesbian(ism), 16, 46–8, 59, 61, 63, Junior, 138 72, 73, 75 deadly, 69–71 Kaplan, E. A., 39 feminist interpretations of, 67–9 Karimi, Amir, 6 lethal sexuality, 125 Kazan, Elia, 94 Levine, Ted, 137 Keaton, Camille, 55 Levy, Ariel, 50–1 Keaton, Michael, 136 liberal democracy, 7 Kellaway, Cecil, 31 Liebenberg, Wilhelm, 67 Kidman, Nicole, 42, 105, 142 Lilya 4-Ever, 168n2 Kids Are Alright, The, 61 Lipstick, 55, 168n7 Kill Bill Volume I, 57 Little Annie Rooney, 96 Kill Bill Volume II, 57 Little Caesar, 7 Killer Inside Me, The, 18, 142, 151–2 Little Red Riding Hood, 113 Killers, The, 1, 20–3 Lodger: A Story of London Fog, The, 126 King, Jamie, 82 Lolita, 17, 94, 95, 98, 103, 169n3 King, Stephen, 108, 111 London to Brighton, 168n2 A Kiss Before Dying, 32, 33, 13–4 Looking for Mr Goodbar, 172n4 Kissing Jennifer Stein, 61 Lopez, Jennifer, 90 Klute, 82, 83 , 95 Kubrick, Stanley, 17, 95, 111 Lost Highway, 81, 82 Kurzel, Justin, 120 Lott, Eric, 40 Love, Heather, 71 La Fille de Dracula, 68 Lowe, Rob, 137 La Fille de L’Eau, 8 Lugacy, Talia, 4 la Novia Ensangrentada, 68 Lured, 36, 37, 132, 133 Lady From Shanghai, The, 24, 25, Lust for a Vampire, 46 38, 39 Lynch, David, 4, 59, 81 Lady on a Train, 132 Lyne, Adrian, 3 Lang, Fritz, 6–10, 32, 35, 126 Lyon, Sue, 94, 95 Langley, John, 8 Lap Dance, 84 M, 7, 126 Last House on the Left, The, 55, 56, M*A*S*H, 166n4 168n7 Macao, 38 Last Seduction, The, 2, 45, 46, 49, Macready, George, 31 52–3, 56, 57, 124, 135 Madonna, 46 Lathan, Sanaa, 90 Malden, Karl, 95 Laughing, Screaming: Modern male Hollywood Horror and Comedy, 87 gaze, 50, 51, 69, 115, 159, 160 Laughton, Charles, 129 hegemony, 11, 158, 163 Laura, 5, 7, 24, 25, 36, 78 identity, 119–21 Le Frisson des Vampires, 68 masquerade, 137, 158, 163 Leigh, Janet, 40 paranoia, 2, 3, 112, 114, 146, 148 Léon: The Professional, 98 protagonist, 52 LeRoy, Mervyn, 7 Malicious, 102 Index 195

Malick, Terrence, 98 ‘Mom vs. Mom’, 79 Malle, Louis, 98 Monster, 48 Malone, Dorothy, 47, 72 Montgomery, Robert, 6 Maltese Falcon, The, 5, 6, 34, 36–8, Moore, Demi, 42, 54, 149 119, 122–3 Moore, Julianne, 69 Mamoulian, Rouben, 126 Moore, Susanna, 142 Marlowe, Phillip, 130 Morocco, 29 Married Women’s Property Act of Motion Picture Production Codes, 44 1870, 68 Mr Brooks, 4, 18, 124, 142, 148–55, Marshall, Neil, 10 163–4, 169n1 Martinez, Olivier, 145 inversion of subjectivity, 149–54 masculinity, 3, 52, 101, 128, monstrous girl in, 154–5 136–8, 144 Mulholland Drive, 4, 10, 16, 48, 59, hegemonic, 120, 123 60, 62–7, 69–72, 74, 75, 109 macho, 136–7 Mulvey, Laura, 27, 55 protest, 119–21, 170n6 Murder, My Sweet, 2, 5, 35, 121 masochism, 28, 85–7, 112 Murder is My Beat, 32 Mason, James, 95 Murnau, Friedrich, 106 masquerade My Name is Julia Ross, 127 childishness as, 93, 96, 97, 114, Mysteries of Udolpho, The, 126 122, 167n2, 169n4 femininity as, 51, 78, 94–7, 122, Nabokov, Vladimir, 17, 94 136, 137, 147 Naked Kiss, The, 6 masculine, 137, 158, 163 narcissism, 49, 59, 72 sexuality as, 122 Naremore, James, 22, 38 womanliness as, 103 Nathalie, 59 Masquerade, 133, 134, 137 National Socialist Party, 8 Match Point, 33 , 8 Maurier, Daphne du, 127 Neeson, Liam, 70 May, Joe, 7 Neff, Walter, 40 Mazurki, Mike, 121 Negra, Diane, 11, 80, 84 McMurray, Fred, 23 neoliberalism, 14, 50 McNaughton, John, 33 neo-noir, 1, 3, 9–11, 14–17, 36, 40, McRobbie, Angela, 11–13, 85, 89, 101 42, 44, 52, 75, 90, 93 Medusa, 19 fille fatale, 94 Mendes, Eva, 90 hommes fatals, 33 Mikkelsen, Mads, 112 masochistic expression of male Mildred Pierce, 5, 6, 17, 23, 35, 94, anxieties in, 53 98, 103, 122, 169n1 same-sex desire in, 47, 48 Millard, Ray, 171n5 Neo-Realism, 8–9 Miller, David, 127 Italian Neo-Realism, 8 Miller, Frank, 4, 76 New York Magazine, 79 misogyny, 50, 51, 57, 97 Night Eyes, 45 Modern Family, 168n1 Night Must Fall, 127 Modine, Matthew, 136 Night of the Hunter, The, 129 Modleski, Tania, 4, 129, 130, 137–8 Night Rhythms, 45 196 Index

Nil By Mouth, 120 phallic girl, 101, 102, 169n6, 170n6 Nimoy, Leonard, 138 Phantom Lady, 36, 131–3, 171n7 Nosferatu, 106, 107 Pickford, Mary, 96 Novak, Kim, 27 Pidduck, Julia, 3 Place, J., 156 objectification, 50, 91, 144 Planet Terror, 87 in cultural representations, 27 Play Misty For Me, 1, 2, 102 self-objectification, 50 Playboy, 70 objectification/subjectification Plaything of the Devil, 68 dichotomy, 51 Poison Ivy, 48, 97–9, 101 O’Brien, Edmond, 23 popular culture, postfeminism and O’Leary, Matt, 120 heteronormativity in, 60–2 Olivier, Laurance, 128 Portman, Natalie, 98 Olsen, Nancy, 36 postfeminism, 2, 16–17 ‘On the Psychology of the anxiety over ageing, 41–2 Uncanny’, 65 and deadly girl, 99–103 O’Quinn, Terry, 111 defined, 11–15 Orange is the New Black, 61 grrrl, 14, 99, 113–17 Orphan, 169n4 in popular culture, 60–2 Oswald, Gerd, 32, 132 and women’s psychothriller, 133–40 otherness, 37, 39, 40 Postman Always Rings Twice, The, 2, Out of the Past, 6, 8, 35, 38 6, 22, 24, 78, 81 Out of Time, 90, 167n3 Powell, Frank, 29 overindulgence, 59 Preminger, Otto, 5 Owen, Clive, 77, 82 Presumed Innocent, 12 Pretty Baby, 98–99 Pacific Heights, 133, 134, 136 Private Hell 36, 8 Pacino, Al, 49 Production Code Administration, 95 Page, Ellen, 97, 118 professional equality, 27 Palance, Jack, 127 Projansky, Sarah, 14, 40 Palma, Brian De, 48 protest masculinity, 119–21, 170n6 Pandora, 19 Providence, 80 Parker, Laurie, 142 psychoanalytic theory, 2, 149–50 patriarchal crisis, 109–12 femme fatale in, 26–8 Paul, William, 87 Pugh, Sharrieff, 161 Payton, Barbara, 32 Pullman, Bill, 56 Peck, Dennis, 153, 139–40 Pursued, 10 Peck, Gregory, 132 Pye, Michael, 143 Peeping Tom, 172n2 Penny Dreadful, 61 Que Sera Sera, 155 Persona, 62, 72, 109, 110 pessimism, 49, 110 Rabelais, François, 86 paranoia, 2, 3, 7, 33, 34, 37, 39, 43, race, 88–91 49, 69, 72, 82, 97, 103, 111, racial anxiety, in classic noir, 37–40 112, 114, 119, 123, 146, 148, Radcliffe, Ann, 126 154, 171n11 Rafelson, Bob, 2 Index 197

A Rage in Harlem, 166n3 Sanders, Lisa Shapiro, 89 Raines, Ella, 36 Sarelle, Leilani, 47 Randolph, Jane, 36 Scarface, 7 rape-revenge narrative, 55–7, 85–91 Scarlet Street, 10, 22, 24, 76, 78, 80 raunch culture, 169n7 Schafer, Betty, 41 Ravin, Emilie da, 118 Schneider, Karen, 139 Ray, Nicholas, 6 Schrader, Paul, 6, 9 Read, J., 55–6 Schwarzenegger, Arnold, 138 Rebecca, 127, 128, 130, 161 Scott, Agent, 144 Red Harvest, 119 Scott, Tony, 67 Red Rock West, 46, 167n3 Scott, Zachary, 94 Red-Headed Women, 31 Sea of Love, 36 Reed, Nikki, 33, 101 Secret Beyond the Door, 127 Reitman, Ivan, 138 Segan, Noah, 121 rejection, 71–4 Seigel, Don, 8 Reno, Jean, 98 self-empowerment, 50 Renoir, Jean, 8 self-objectification, 50 retreatist scenario, 79–82 sensual seductresses, 20–5 retro-sexism, 166n4 Sex and the City, 161 Richards, Denise, 115 sex(ism/uality), 45–51 Richardson, Carl, 9 bisexuality, 47–9, 59, 61, 68, 71, 75 Ricoeur, Paul, 149 heterosexuality, 15, 28, 48, 50, Ride the Pink Horse, 6, 38 59–61, 69, 71, 72, 74–6, 115, Ringwald, Molly, 102 119, 160, 161 ‘Riot Grrrl’ movement, 14, 99, 115 homosexuality, 71 Riviere, J., 96 as instrument to death, 46 Robinson, Edward G., 24 lethal, 125 Rodley, Chris, 66 as masquerade, 122 Rodriguez, Robert, 4 relaxation of attitudes towards, 47 Rohl, Kacey, 111 retro-sexism, 166n4 romance, 36 sexual assertiveness, 12, 26, 30, 39, disarticulated gaze, 158–60 50, 97 disarticulating homme fatal, sexual autonomy, 14, 27, 44 framing, 156–8 sexual freedom, 13 lashing back at backlash, 160–3 sexual titillation, 69 perverting, 155–63 Shadow of a Doubt, 105, 111, 132 Romper Stomper, 120, 121 Shanghai Express, 29, 38 Rosa, Deadly, 40 Shanghai Gesture, The, 38 Rosenberg, Stuart, 111 Sherwin, Miranda, 49 Rourke, Mickey, 82, 121 Shields, Brooke, 98 Rubens, Joseph, 111 Shining, The, 111, 148 Ruffalo, Mark, 155, 157 Shklovsky, Viktor, 66 Ryan, Meg, 157 Shock Corridor, 6 Showgirls, 45, 48 same-sex desire, 47–9, 58, 59, 61 Siegel, Don, 1 Sanchez, Federico, 67 Siegel, James, 16 198 Index

Silence of the Lambs, The, 133–5, stripper chic, 50, 84 137, 144 Studlar, Gaylyn, 28, 96 Silver, Alain, 6 Sudden Fear, 127–30 Silver, Ron, 134 suffrage, 7 Simon, Simone, 39 Sunset Boulevard, 22–4, 35, 36, 41, 62 Sin City, 4, 16, 57, 76, 77, 82–5, Suspicion, 32, 128, 161 91, 121 Swanson, Gloria, 22 Sin City 2: A Dame to Kill For, 82, 86 Swim Fan, 102 Single White Female, 102, 167n5 symbolic castration, 54 Singleton, John, 40 Siodmak, Robert, 1, 8, 9, 36 Taking Lives, 4, 10, 18, 142, 163 Sirens, 19 and undermining feminism, 143–8 Sirk, Douglas, 36 Talented Mr Ripley, The, 33, 171n8 sisterhood, 145 Tallichet, Margaret, 131 Slade, David, 4 Tarantino, Quentin, 57, 87 Snow Town, 120 Tasker, Y., 83 So Evil My Love, 126–7, 171n5 Taxi Driver, 1 Sobchack, V., 111, 112, 154 Taylor, Anthea, 12, 14, 15, 48 social equality, 44 Temp, The, 53, 54, 78 Society for Promoting the Temptress, The, 29 Employment of Women, The, 68 Ten Years Younger, 42 Spacek, Sissy, 108 Terminator, 139 Spellbound, 8, 132, 134 Terminator 2: Judgement Day, Spice Girls, 100 10, 139 Spicer, Andrew, 6, 34 That Yellow Bastard, 76 Spiral Staircase, The, 127 Thirst, 106, 170n3 Springer, Kimberley, 89–90 Thompson, Jim, 18 Stables, Kate, 9, 50 Thorpe, Richard, 127 Stahl, Nick, 86 Three Men and a Baby, 138 Stallone, Sylvester, 139 Tierney, Gene, 24, 36 Stanwyck, Barbara, 22, 30, 35 Tierney, Lawrence, 32 Stepfather, The, 111, 134, 136, 148, Tilly, Jennifer, 47 171n9 Timlin, Addison, 80 Stewart, James, 27 To the Lighthouse, 173n7 Stoker, 4, 10, 17, 98, 99, 102, 104–7, Todd, Ann, 171n5 110–12, 118, 123, 154 Toro, Benicio del, 86 Stoker, Bram, 68 Touch of Evil, 6, 34, 38, 40, 81 Stone, Oliver, 167n3 Tourneur, Jacque, 6, 8, 9, 127 Stone, Sharon, 46 transformation, 109–12 Straayer, Chris, 47 Trevor, Claire, 35, 83, 133 Strange Love of Martha Ivers, The, Tripplehorn, Jeanne, 47 35, 94 True Blood, 61 Stranger, The, 170n2 Turner, Kathleen, 46 Stranger on the Third Floor, 6, 8, Turner, Lana, 22 131, 134 Tuttle, Lurene, 36 Strassenfilm (street film), 7 27 Wagons Full of Cotton, 169n5 Index 199

Twins of Evil, 46 Wasikowska, Mia, 98 Twisted, 172n1 Watts, Naomi, 62 Webb, Clifton, 36 U Turn, 81, 167n3 Welles, Orson, 6, 24 Ullmann, Liv, 109 Wellman, William, 31 Ulmer, Edgar G., 8, 20, 32 We’re the Millers, 84 ‘Uncanny, The’, 65 What To Expect When You Are Undercurrent, 127 Expecting, 60 unheimlich, 65, 66, 75 When Strangers Marry, 132 U-Turn, 90 Where Danger Lives, 38 Where Love Has Gone, 98, 169n1 Vadim, Roger, 67 ‘Why Boys Are Failing in an Vampire Lovers, The, 46, 67 Education System Stacked Vampires, 19 Against Them’, 100 vamps, 29–33, 54, 121–3 Wild Things, 33, 45, 48, 97, 101, 115 Vampyre: A Tale, The, 170n1 Wilder, Billy, 2, 4, 8, 9, 22 Vampyros Lesbos, 67 Williams, Linda, 46, 159 Veda, 5 Willis, Bruce, 86 Vernet, Marc, 5 Winterbottom, Michael, 18 Vertigo, 27, 62 Winters, Shelly, 95 Vickers, Martha, 35 Wire, The, 71 Vicki, 132 Wise, Robert, 127 victim(s/isation/hood), 56, 121–3 Woman in the Window, The, 6, 24 Vidor, Charles, 22 Woman on the Run, 132 Vidor, King, 32 women’s psychothriller von Sternberg, Josef, 7, 38, 39 conventions of, 133–4 voyeurism, 27, 144 fatal man, framing, 136–40 with sadism, 28 places, spaces, and anxiety, 134–6 postfeminism, 133–40 Wachowski, Lana, 47 work vs. family dilemmas, 79–82 Wachowski, Larry, 47 Wright, Teresa, 105 Wagner, Robert, 32 Waldman, Diane, 128–30 Zarchi, Meir, 55 Walpole, Horace, 126 Zehtner, Nora, 118 Walsh, Raoul, 10, 38 Zellweger, Renee, 13 Walter, Jessica, 2, 28 Zimmerman, Bonnie, 47, 68