1. Week 2, Jan 13 th : Masculinity /Femininity: The Tough Guy and the Fatal Woman “Noir as a genre of forbidden desires” Noel Carroll

2. Hollywood’s appropriation of Freud “It was in the thrillers in the 1940’s that Hollywood's appropriation of Freud found a particularly comfortable niche. For many of the crime films of the period betray an interest in the ‘personalization’ of crime, rather than framing criminal activity as either ‘a social problem’ or the product of organized gangs. This fascination with internal, subjectively generated criminal impulses has widely been recognizable as a crucial characteristic of 1940’s film noir” (Frank Krupnik In a Lonely Street Routledge 1991 xii)

4. Out of the Past (1947) Jacques Tourneur. With Robert Mitchum & Jane Greer

8. Sex, money, power Screening: The Big Sleep, Howard Hawks Scarlet Street (1945/6) Fritz Lang (1945); Out of the Past (1947) Jacques Tourneur, Detour (1945) Edgar Ulmer Assignment #1 In Class Film Glossary Test: Friday January 27 th http://www.screenonline.org.uk/education/glossary.htmlhttp://ww w.filmsite.org/filmterms7.html http://www.screenonline.org.uk/education/glossary.htmlhttp://ww w.filmsite.org/filmterms7.html Assignment #2 Film Sequence Analysis Topics handout: Due, Friday March 3 rd

9. Sources Silver Alain and Ursini, James (editors). Film Noir Reader, New York: Limelight Editions, (1996/ 2006). BFI Women and Film Noir (1978) Silver, Alain & Ward, Elizabeth Film Noir: An Encyclopaedic reference to the American Style (1979) Hirsch Foster The Dark Side of the Screen: Film Noir (1981) Neale, Steven “Masculinity as Spectacle: Reflections on men and Mainstream Cinema”

10. Men & Women in Noir Films Three dominant character types 1) la femme fatale: corrupt and sexually deviant, all knowing and independent/ “spider woman” yet according to film theorist Laura Mulvey unable to form a stable sexual identity. 2) Her victim, the vulnerable bourgeois male 3)The tough hardboiled cynical yet gallant private investigator.

12. Ann Savage

13. Alida Valli

14. Veronika Lake

16. Rita Hayworth

17. Ava Gardner

18. 2) Her victim, the vulnerable bourgeois male

19. Barbara Stanwick & Fred Macmurray

20. 3)The tough hardboiled cynical yet gallant private investigator. Humphrey Bogart

21. Sub-character types Pure, virginal and naïve women who are forced through circumstance to become femmes fatale The masculine female The feminine male The ‘asexual’ male/female the male or female homosexual

22. The Femme Fatale & Film Theory Readings: Mary Anne Doane “Deadly Women, Epistemology and Film Theory” (1991) pp 1-16 and Film and the Masquerade: Theorizing the Female Spectator pp 17-32 Thomas, Deborah, "Psychoanalysis and Film Noir" in Cameron, The Book of Film Noir, pp71- 87.

24. Freud & Psychoanalytic Approaches to Film Noir The psychological intricacies of spectatorship. Freud (seeing as another drive c.w. the libido?) Fantasy dream work (I dream of myself as another). How does cinema participate in this fantasy? The spectator’s disavowal of the reality effect permits the cinematic illusion to have its desired affect through identification with the other.

25. Joan Bennett in Fritz Lang’s Scarlet Street 1945

26. Voyeurism & scopophilia. The ‘fetishistic male gaze that structures the woman as subject/object of pleasure.” Laura Mulvey’s Visual Pleasure & narrative Cinema” Active male/passive female. Question: What of a gender switch to submit to the female gaze? The femme fatale (1940’s) & narcissism?

28. Peeping Tom (1960)

29. Extra diegetic and intra diegetic looking Extra diegetic and intra diegetic looking (one describes the spectatorial look, or gaze and the other the voyeuristic looking of the characters in the film. “ Mulvey situates the visual pleasures in Hollywood cinema in the satisfaction of the male’s desire to contemplate the female form erotically.

30. This contemplation itself is potentially unpleasurable, however since contemplation of the female form raise the prospect of castration anxiety’ [the inability to perform] Noel Carroll Escape through voyeurism or fetishistic looking, eroticizing the part or the whole.

31. Mary Ann Doane Femmes fatale: Feminism, Film Theory, Psychoanalysis.(1991) Question: Film noir’s image of the independent, strong woman versus the object of the male gaze? Sado masochistic fantasies. Freud’s recognition of sexual difference --the primal scene and the castration anxiety. The structuring of desire through identification Phantasm/

32. Raymond Chandler (1888-1959)

33. Chandler Master practitioner of the American hard Boiled Crime fiction. Author of The Big Sleep (1939), film directed by Howard Hawks in 1946 our featured film today. The title is a euphemism for death; it refers to a rumination in the book about "sleeping the big sleep.”

34. Howard Hawks, director

37. Noir Transformed the new role of woman into a negative image. Passing through the noir filter, the new woman forced by social circumstance And economic necessity to assert herself in ways that her culture had not previously encouraged, emerged on the screen as a wicked, scheming creature, sexually potent and deadly to the male. The dark thrillers record an abiding fear of strong women, women who steer men off their course, beckoning them to a life of crime, or else so disrupting their emotional poise that they are unable to function” Hirsch, Foster (1999)

48. Next week: Existentialism & Film Noir