Film noir, which flourished in 1940s and 50s, reflected the struggles and sentiments of postwar America. Dennis Broe contends that the genre, with its emphasis

Consider the usual view of film noir: endless rainy nights populated by down-at-the-heel boxers, writers, and private eyes stumbling toward inescapable doom whi

From The Maltese Falcon (1941) to Touch of Evil (1958), the classic film noir is easily recognizable for its unusual lighting, sinister plots, and feeling of pa

Class, Crime and International Film Noir argues that, in its postwar, classical phase, this dark variant of the crime film was not just an American phenomenon.

Connects anxieties about citizenship and national belonging in midcentury America to the sense of alienation conveyed by American film noir