LIBRARY RESERVE: BIBLIOGRAPHY
Silver, Alain and
Elizabeth Ward (eds.) Film Noir: An Encyclopedic Reference to the American
Style.
Woodstock, N.Y.:
Overlook Press, 1992.
[REFERENCE
NEW COLLEGE LIBRARY: PN 1995.9 F54 F55 1992]
******************************************************************************
2.3
Buchsbaum, Jonathan, "Tame Wolves and Phoney Claims: Paranoia and Film
Noir," 88-97, in
Cameron, The Book of Film Noir.
[RESERVE: SEE
CAMERON]
6.3
Britton, Andrew, "Betrayed by Rita Hayworth: Misogyny in the in The Lady
From Shanghai,"
213-231, in Cameron, Ian, ed, The Book of Film Noir.
[RESERVE: SEE
CAMERON]
Cameron, Ian, ed,
The Book of Film Noir.
[NEW COLLEGE
LIBRARY: PN 1995.9 F54 B66 1993]
8.3
Cawelti, John G., "Chinatown and Genric Transformations in Recent
American Films," 182-201,
in Grant, Film Genre Reader, Austin:
University of Texas Press, 1986.
[NEW COLLEGE
LIBRARY: PN 1995 F52 1986]
4.1
Cowie, Elizabeth, Chapter 5, "Film Noir and Women," 121-165 in Joan
Copejc, (ed.) Shades of Noir:
A Reader, London and New York:
Verso. 1993.
[NEW COLLEGE
LIBRARY: PN 1995.9 .F54 S5 1993]
4.1
Doane, Mary Ann, "Woman's Stake in Representation: Filming the Female
Body," October no. 17
(1981) 23-36. Also Chapter 8, 165-177, in
Doane, Femmes Fatales: Feminism, Film Theory,
Psychoanalysis, 1991 New
York: Routledge, 1991.
ILL REQUEST FROM
TAMPA:
5.3
Doane, Mary Ann, Femmes Fatales: Feminism, Film Theory, Psychoanalysis,
New York:
Routledge, Chapman and Hall, Inc., 1991.
Chapter 5, "Gilda:
Epistemology as Striptease," 99-118.
RESERVE SEE DOANE
5.3
Dittmar, Linda, "From Fascism to the Cold War: Gilda's
"Fantastic " Politics," in Wide Angle, V. 10,
#3 XEROX
ON RESERVE
5.1
Dyer, Richard, "Homosexuality in Film Noir," in Jump Cut 16,
November 1977, 18-21.
XEROX ON RESERVE
8.3
Eaton, Michael, Chinatown, BFI Film Classic.
NEW COLLEGE
LIBRARY: PN 1997 C46447 E28 1997]
2.3
Evans, Peter William, "Double Indemnity (or Bringing Up Baby),"
165-173, in Cameron, Ian, (1993)
The Book of Film Noir.
[RESERVE SEE CAMERON]
8.3
Gallafent, Edward, "Echo Park: Film Noir in the 'Seventies," 254-285
in Cameron, The Book of
Film Noir, 1993. [especially 261-266 on
Chinatown]
RESERVE SEE CAMERON
8.3
Gamel, Mary-Kay, "An American Tragedy: Chinatown," 209-231 in
Martin M. Winkler (editor),
Classics and Cinema, Lewisburg:
Bucknell UP, 1991.
[ILL FROM TAMPA:
PN 1995.9 .H5 C45 1991]
6.3
Graham, "Inaccessibility of The Lady from Shanghai," Film
Criticism 52. (1981) 21-37.
ILL ORDERED: 19
JAN 2003
8.1
Grist, Leighton, "Moving Target and Black Widows: Film Noir in Modern
Hollywood," 267-285, in
Cameron, The Book of Film Noir, 1993.
RESERVE SEE CAMERON
4.1
Hollinger, Karen, "Film Noir, Voice-Over and the Femme Fatale,"
243-259, in Alain Silver and
James Ursini (eds.) Film Noir Reader, New
York: Limelight Edition, 1996.
RESERVE SEE SILVER
5.1
Kawin, Bruce, Mindscreen: Bergman, Godard, and First-Person Film,
Princeton, New Jersey:
Princeton UP, 1978. Chapter 1, "The Mind's
Eye," 3-22.
[NEW COLLEGE
LIBRARY PN 1995. .K34]
3.3
Kuhn, Annette, The Power of the Image: Essays on Representation and Sexuality,
London and
New York: Routledge and Kegan Paul, 1985.|
Chapter 4, "The
Big Sleep: Censorship, Film Text and Sexuality," 74-95.
[NEW COLLEGE
LIBRARY: PN 1995 .9 .W6 K79 1994]
8.3
Leaming, Barbara, Polanski: A Biography the Filmmaker as Voyeur, New
York: Simon and
Schuster, 1981. Chapter 13, 140-148.
XEROX ON RESERVE
1.1
Luhr, William, "Tracking The Maltese Falcon: Classical Hollywood
Narration and Sam Spade,"
161-175 in Luhr, ed., The Maltese Falcon,
Rutgers UP,
[NEW COLLEGE
LIBRARY: PN 1997 .M256743 M36 1995]
5.1
Maltby, Richard, "The Politics of the Maladjusted Text," 39-48 in
Cameron, Ian (ed.) The Book of
Film Noir.
RESERVE SEE CAMERON
3.3
Mayne, Judith, The Woman at the Keyhole: Feminism and Women's Cinema,
Bloomington and
Indianapolis, Indiana UP.
Chapter 1,
"Spectacle, Narrative and Screen," 13-48.
[NEW COLLEGE
LIBRARY: PN 1995.9 .W6 M36 1990]
4.3
McNamare, Laura as Novel, Film and Myth, Lewiston N.Y.: The Edwin Mellen
Press, 1992.
Introduction, ii-xii,
Chapter 1: "The Film," 1-19.
[XEROX ON RESERVE]
4.3s
McNamare, Eugene, "Preminger's Laura and the Fatal Woman Tradition,
"24-29 in Clues: A
Journal of Detection (Clues), Bowling Green,
Ohio, vol.3 no.2 1982 (Fall Winter)
ILL ORDERED 19 JAN
2003] #213019
5.1
Maltby, Richard, "The Politics of the Maladjusted Text," 39-48 in
Cameron, Ian (ed), The Book of
Film Noir.
[RESERVE SEE CAMERON]
4.1
Mulvey, Laura, "Visual Pleasure and Narrative Cinema," 14-26 in Visual
and Other Pleasures,
Bloomington and Indianapolis: Indiana UP, 1989
[NEW COLLEGE
LIBRARY: PN 1995.9 .W6 M84 1989]
also in Constance
Penley, ed. Feminism and Film Criticism, 57-68.
[NEW COLLEGE
LIBRARY: PN 1995.9 W6 F45 1988]
1.3
Naremore, James, "John Huston and The Maltese Falcon," Literature/Film
Quarterly, 1, No.3
(1973), 239- 249. Also in Luhr, ed., The Maltese
Falcon, New Brunswick, New Jersey: Rutgers
UP. 1995.
[RESERVE SEE LUHR]
2.3
Palmer, R. Barton, Hollywood's Dark Cinema: The American Film Noir,
Chapter 2, "Dark
Love: The Noir Crime Melodrama," 32-70. (especially section on Double
Indemnity, 40-52.
[RESERVE NEW
COLLEGE LIBRARY: PN 1995.9 .F54 P36 1994]
4.1
Palmer, R.Barton, Hollywood's Dark Cinema: The American Film Noir,
Chapter 5,
"Trapped in the Dark: The Noir Woman's Picture," 139-166.
[NEW COLLEGE
LIBRARY: PN 1995.9 .F54 P36 1994]
2.1
Place, J. A. and L. S. Peterson, "Some Visual Motifs of Film Noir,"
reprinted in Movies and
Methods, edited by Bill Nichols, 325-338.
Berkley: U of California Press, 1976.
[NEW COLLEGE
LIBRARY RESERVE: PN 1994 M65]
Also in Silver and
Ursini, Film Noir Reader, 65-76. RESERVE SEE SILVER
6.1
Porfirio, Robert, G., "No Way Out: Existential Motifs in the Film
Noir," 77-93, in Alain Silver and
James Ursini, eds., New York: Limelight
Editions, 1996.
[RESERVE SEE SILVER]
1.1
Richardson, Carl, (1992) Autopsy: An Element of Realism in Film Noir,
Chapter II,
"Film Noir in the Studio: The Maltese Falcon," 37-75.
[NEW COLLEGE
LIBRARY: PN 1995.9 .F54 R5 1992]
2.3
Schickel,
Richard, Double Indemnity. London: British Fiom Institute, 1992
[NEW COLLEGE
LIBRARY: PN 1997 D6553 S35 1992]
1.1
Schrader, Paul, (1972) "Notes on Film Noir," in Barry Keith Grant,
(1986) Film Genre Reader,
169-182.
[NEW COLLEGE
LIBRARY: PN 1995 F52 1986]
Also in Palmer, Perspectives
on Film Noir, 99-109.
RESERVE: SEE PALMER
Silver, Alain and
James Ursini, eds. Film Noir Reader. New York: Limelight Editions, 1996.
[NEW COLLEGE
LIBRARY: PN 1995.9 .F54 F57 2000]
5.1
Thomas, Deborah, "How Hollywood Deals with the Deviant Male," 59-70 in
Cameron, Ian (ed), The
Book of Film Noir.
[RESERVE: SEE
CAMERON]
6.1
Thomas, Deborah, "Psychoanalysis and Film Noir," in Cameron, The
Book of Film Noir,
[RESERVE: SEE
CAMERON]
4.3
Thompson, Kristin, "Closure within a Dream: Point of View in Laura,"
90-105, in Film Reader 3,
Ed. Bruce Jenkins. Evanston: Northwestern UP,
1978.
[XEROX ON RESERVE]
3.1
Turim,
Maureen, (1989) "The Fatalistic Flashback of Film Noir," 170-188 in Flashbacks
in Film,
New York and London:
Routledge.
[NEW COLLEGE
LIBRARY RESERVE: PN 1995.9 .F56 T87 1989]
4.3
Turim, Maureen, Flashbacks in Film: Memory and History, New York:
Routledge, Chapman and
Hall, 1989. Chapter 5, "Flashbacks and the Psyche in
Melodrama and Film Noir," 143-187,
especially 185-186 presents a short but
useful analysis of Lydecker's naration See also 1.3
[XEROX ON RESERVE]
1.1
Walker, Michael, (1993) "Film Noir: Introduction," 8-38 in Cameron,
Ian, editor, The Book of Film
Noir, 1993.
[RESERVE: SEE
CAMERON]
3.3
Walker, Michael, (1993) "The Big Sleep: Howard Hawks and Film Noir,"
191-202 in Cameron, Ian,
editor, The Book of Film Noir.
[RESERVE: SEE
CAMERON]
8.3
Walling, William, "Chinatown," 41-49, in Arthur Asa Berger,
editor, Film in Society, London:
Transaction Books, 1980.
ILL TAMPA: PN 1995 F459