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FOOTNOTES

OVERVIEW (back)

1 R. Barton Palmer, ed., Perspectives on Film Noir (New York: G. K. Hall & Co., an Imprint of Simon and Schuster Macmillan, 1996), 5.

2 Colin Shindler, Hollywood Goes to War: Films and American Society 1939-1952 (London: Routledge & Kegan Paul, 1979), 79.

3 J.D. Bernal, "Everybody's Atom," The Nation, September 1, 1945, 201.

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THE DECADE (back)

1 Elaine T. May, "Rosie the Riveter Gets Married" in The War in American Culture: Society and Consciousness During World War II. Lewis A. Erenberg and Susan E. Hirsch, ed. (Chicago: University of Chicago Press, 1996), 129.

2 Ibid., 133.

3 Paul Boyer, By the Bomb's Early Light: American Thought and Culture at the Dawn of the Atomic Age (New York: Pantheon Books, division of Random House, 1985) 109.

4 J.D. Bernal, 204.

5 "Oak Ridge: Life Where the Bomb Begins." Newsweek, August 5, 1946, 34.

6 Reinhold Niebuhr, "A Faith to Live By: The Dilemma of Modern Man," The Nation (February 22, 1947), 209.

7 May, 129.

8 William R. Tuttle, Daddy's Gone to War: The Second World War in the Lives of America's Children (New York: Oxford University Press, 1993), 256.

9 Ibid., 235.

10 Ibid., 88.

11 Ibid., 215.

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FILM NOIR (back)

1 Alain Silver and James Ursini, ed., Film Noir Reader (New York: Proscenium Publishers, 1996, 1997, Fourth Limelight Edition, February, 1998), 6.

2 Barton, 4.

3 Raymonde Borde and Etienne Chaumeton, "Toward the Definition of Film Noir," excerpt from Panorama du film noir american (Paris: Editions de Minuit, 1955), 5-15, translated by R. Barton Palmer, in Perspectives on Film Noir, R. Barton Palmer, ed. Perspectives on Film series (New York: G.K. Hall & Co., Imprint of Simon & Schuster Macmillan, 1996), 63.

4 Paul Schrader, "Notes on Film Noir (1972)" in Film Noir Reader, Alain Silver and James Ursini, ed. (New York: Proscenium Publishers, 1996, 1997, Fourth Limelight Edition, February, 1998), 53-63.

5 Robert Sklar, Movie-Made America: A Cultural History of American Movies, rev. and updated (New York: Random House, 1975; New York: Vintage Books Edition, December 1994), 253.

6 Brian Neve, Film and Politics in America: A Social Tradition. (London: Routledge, 1992), 146-170.

7 Robert Sklar, 253.

8 Jon Tuska, Dark Cinema: American Film Noir in Cultural Perspective. (Westport, CT: Greenwood Press, 1984) 151.

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FILM NOIR: Characteristics (back)

1 Janey Place and Lowell Peterson, "Some Visual Motifs of Film Noir (1974)" in Film Noir Reader, Alain Silver and James Ursini, ed. (New York: Proscenium Publishers, 1996, 1997, Fourth Limelight Edition, February, 1998), 65-76.

2 Schrader, 56.

3 William Marling, The American Roman Noir: Hammett, Cain, and Chandler (Athens, GA: The University of Georgia Press, 1995), 237.

4 Schrader, Ibid.

5 Nicholas Christopher, Somewhere in the Night: Film Noir and the American City (New York: The Free Press, Division of Simon & Schuster, 1997), 37.

6 John Belton, ed. Movies and Mass Culture. (New Brunswick, NJ: Rutgers University Press, 1996), 15.

7 Manny Farber,"The Hero," The New Republic, October 18, 1943, 521.

8 Ray Pratt, Projecting Paranoia: Conspiratorial Visions in American Film (Lawrence, KS: University of Kansas Press, 2001) 54 .

9 Leonard Quart and Albert Auster, American Film and Society since 1945, 3d ed. (Westport, CT: Praeger Publishers, 2002), 24-27.

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FILM NOIR: The Films (back)

1 Schrader, 58-61.

2 Philip T. Hartung, "The Maltese Falcon." The Commonweal, October 17, 1941, 614. Contemporary review of the film.

3 Otis Ferguson, "Some Pictures Move: The Maltese Falcon." The New Republic, October 20, 1941, 508. Contemporary review of the film.

4 Nino Frank, "The Crime Adventure Story: A New Kind of Detective Film," Originally published in L'Ecran Francais 61 (August 28, 1946); 8-9, 14, translated by R. Barton Palmer, in Perspectives on Film Noir, R. Barton Palmer, ed. Perspectives on Film series (New York: G.K. Hall & Co., Imprint of Simon & Schuster Macmillan, 1996), 23.

5 Hartung. "Simply Thrilling: Notorious, The Big Sleep, Black Angel." The Commonweal, September 6, 1946, 504. Contemporary review of the films.

6 Schrader, 59.

7 James Agee, "Films: Double Indemnity." The Nation, October 14, 1944, 415. Contemporary review of the film.

8 Manny Farber, "Hard-as-Nails Department: Double Indemnity." The New Republic, July 24, 1944, 103. Contemporary review of the film.

9 Schrader, 59-61.

10 Hartung, "Violence with a Vehemence: The Blue Dahlia." The Commonweal, May 24, 1946, 143-144. Contemporary review of the film.

11 Schrader, Ibid.

12 Christopher, 87.

13 Sklar, 266.

14 Schrader, Ibid.

15 Charles Gregory, "Living Life Sideway," Originally published in Journal of Popular Film 5, no. 314 (1976): 289-311, in Perspectives on Film Noir, R. Barton Palmer, ed. Perspectives on Film series. (New York: G.K. Hall & Co., Imprint of Simon & Schuster Macmillan, 1996), 154.

16 James Naremore, More than Night: Film Noir in Its Contexts (Berkley and Los Angeles. University of California Press, 1998), 21.

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UNEXPECTED NOIR (back)

1 Emanuel Levy, Small-Town America in Film: The Decline and Fall of Community (New York: Continuum Publishing Company, 1991), 71-108.

2 "Capra's Christmas Carol: It's a Wonderful Life," Newsweek, December 30, 1946, 73, Contemporary review of the film.

3 James Agee, "Films: It's a Wonderful Life." The Nation, February 15, 1947, 193. Contemporary review of the film.

4 Levy, 192.

5 Quart, 17.

6 Philip T. Hartung, "Foreign and Strange Places: Casablanca." The Commonweal, December 11, 1942, 209. Contemporary review of the film.

7 Sklar, 253.

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