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A new glossary of noir


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Feel free to add on to these:

military noir...CROSSFIRE (1947); THE GENERAL'S DAUGHTER (1999)
poverty noir...OF MICE AND MEN (1939); DETOUR (1945)
legal noir...MADELEINE (1950); WITNESS FOR THE PROSECUTION (1957); COMPULSION (1959)
children's noir...THE WINDOW (1949); THE BAD SEED (1956); THE INNOCENTS (1961)
elderly noir...ARSENIC AND OLD LACE (1944); THE MULE (2018)
racial noir...IN THE HEAT OF THE NIGHT (1967); A SOLDIER'S STORY (1984)
pre-life/abortion noir...I DON'T WANT TO BE BORN (1975); ROE VS. WADE (1989)
religious noir...AGNES OF GOD (1985); THE PASSION OF THE CHRIST (2004)
teen noir...I SAW WHAT YOU DID (1965)
gothic noir...GASLIGHT (1940); THE SPIRAL STAIRCASE (1946)
western noir...PURSUED (1947); COLORADO TERRITORY (1949); THE FURIES (1950)
women's noir...WOMAN ON THE RUN (1950); WOMAN IN HIDING (1950)
reflexive noir...SUNSET BOULEVARD (1950); THE PLAYER (1992)
historical noir...MACBETH (1948); BLACK MAGIC (1949); JFK (1991)
graphic noir...THE TEXAS CHAINSAW MASSACRE (1974); 8 MM (1999)
french noir...LES DIABOLIQUES (1955)
british noir...THE OCTOBER MAN (1947); THEY MADE ME A FUGITIVE (1947)
italian noir...A BLACK VEIL FOR LISA (1968); THE CAT O' NINE TAILS (1971); MY DEAR KILLER (1972)
carnal noir...MAN IN THE ATTIC (1953); BLACK CHRISTMAS (1974)
gender bending noir...PSYCHO (1960)
farcical noir...THE WRONG BOX (1966); BATMAN (1989)
nuclear noir...SPLIT SECOND (1953); THE BEDFORD INCIDENT (1965)

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31 minutes ago, Sgt_Markoff said:

What murder takes place in the Bedford Incident? 

I guess you don't know what nuclear war is. The annihilation of the entire human race is occurring at the end of the movie. If that's not murder, mass murder, then what is? I really shouldn't have answered you but felt it might help things sink in for you.

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Ok here are possible additions.... :D

 

legal noir...MADELEINE (1950); WITNESS FOR THE PROSECUTION (1957); COMPULSION (1959). ANATOMY OF A MURDER (1959) is on the cusp
children's noir...THE WINDOW (1949); THE BAD SEED (1956); THE INNOCENTS (1961), THE FALLEN IDOL (1948)
gothic noir...GASLIGHT (1940); THE SPIRAL STAIRCASE (1946) THE LODGER (1944), HOUSE BY THE RIVER (1950), 
western noir...PURSUED (1947); COLORADO TERRITORY (1949); THE FURIES (1950) THE GREAT SILENCE (1968)
women's noir...WOMAN ON THE RUN (1950); WOMAN IN HIDING (1950), WOMAN ON THE BEACH (1947), LADIES IN RETIREMENT (1941), FEMALE ON THE BEACH (1955), SUDDEN FEAR (1952), MILDRED PIERCE (1945), THE DAMNED DON"T CRY (1952)
 

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Just now, TopBilled said:

I think NORA PRENTISS (1947) can be added to women's noir.

There are a lot of Woman's Noir, There is another one with the same actress from Nora Prentiss and her husband is Zachary Scott, she had an affair with a sculpture, It's THE UNFAITHFUL (1947) 

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12 hours ago, cigarjoe said:

There are a lot of Woman's Noir, There is another one with the same actress from Nora Prentiss and her husband is Zachary Scott, she had an affair with a sculpture, It's THE UNFAITHFUL (1947) 

Yeah, Ann Sheridan is the actress in that picture.

THE LETTER (1940) is another one. It starts with Bette Davis' character murdering a man in cold blood. Doesn't get more noir than that!

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4 minutes ago, cigarjoe said:

gender bending noir...PSYCHO (1960), THE SAVAGE EYE (1960), STRANGE COMPULSION (1964), AROUSED (1966), SECONDS (1966), THE PICK-UP (1968)

Thanks. Interesting examples. I edited the original post and added some Italian noir (commonly referred to as giallo).

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Can anyone explain why this exercise at categorizing doesn't exactly mirror well-known and much-resented practices in fiction publishing? Doesn't this do exactly what all the marketers and promoters do at Barnes & Noble and the Big Five publishing houses? Authors and readers alike have been bemoaning that fracas for years now. 

The new system employed runs roughshod over traditional genre distinctions (devised by study), in favor of 'sales stratagems'.

'Paranormal romance' and 'dystopic'--both prominent examples of new categories which have no functional distinction from the rest of their genre, but which are now labeled and shelved separately.

The problem is that:

  1. this is all a top-down, hierarchically-applied schema, and 
  2. it props up an artificial set of new gatekeepers.

Who gets to preside over the new labels? Where do these doyens get their backing? What responsibility do they take? What's their vested interest?

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I'd add another one to this glossary--

cold war noir...THE SPY WHO CAME IN FROM THE COLD (1965); THE KREMLIN LETTER (1970); THE MACKINTOSH MAN (1973); THE TAMARIND SEED (1974); most of the early James Bond films, up to THE LIVING DAYLIGHTS (1987); GORKY PARK (1983)

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