Noir, Now and Then: Film Noir Originals and Remakes (1944-1999) (Literature in Context)
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The second Mrs.
She evidently dreams up this powerful vision of a woman who she could never live up to. The heroine lives in constant paranoia and fear that she is never good enough or could ever compare to Rebecca. She constantly fears that Maxim, her husband does not love her and is still madly in love with Rebecca 8. H Her paranoia leads her to almost commit suicide when Maxim rejects her for a minor thing and Mrs.
Danvers, corners her in front of an open window and sinisterly calmly suggests suicide is her only option. We, none of us want you here. He never did. He wants to be alone again in the house, with her.
Schwartz, Ronald [WorldCat Identities]
The words spoken bleed through her but she does not do it. Her obsession and paranoia with Rebecca further expose a remarkable moment when rather than being distraught that her husband is a murdered she was relieved to find out that he never really loved Rebecca and that his marriage with her was a lie. When her husband Maxim de Winter is interrupted as he shows a home movie of their blissful honeymoon, the scene darkens and a bright light from below starkly illuminates their anxious and separated faces in the gloom as each begins to realize the overwhelming presence of the dead Rebecca falling like a deep shadow between them Spicer The shadows used in this scene contribute to film noir style and techniques.
Danvers first begins to show the second Mrs. This infers that the unnamed heroine is thus trapped in, and most ironically in the room of the woman she most fears.
Low-key lighting and the use of venetian blinds are key elements when it comes to style in film noir. These elements contribute to film noir style and techniques.
All of these elements are key contributors as to why Rebecca should be considered the first gothic noir. This is shown in two ways. Which thus leads to one of the main themes in film noir, paranoia. Rebecca might not be your typical noir film with a male detective protagonist and femme fetal, but it is clearly shown throughout the film that Rebecca does resemble noir elements. She constantly fears that Maxim, her husband does not love her and is still madly in love with Rebecca 8 H Her paranoia leads her to almost commit suicide when Maxim rejects her for a minor thing and Mrs.
The street was mine: white masculinity in hardboiled fiction and film noir.
Palgrave Macmillan, Auerbach, Jonathan. Duke UP Arthur, Paul. Edited by David E. James and Rick Berg. Minnesota David Slocum. Routledge, Ballinger, Alexander.
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Wallflower, Breu, Christopher. Hard -Boiled Masculinities. Broe, Dennis. Film noir, American workers, and postwar Hollywood. F L, Brook, Vincent. Rutgers, Chopra -Gant, Mike. Hollywood genres and postwar America : masculinity, family and nation in popular movies and film noir. Christopher, Nicholas. Free Press, Cochran, David. America Noir: underground writers and filmmakers of the postwar era. Smithsonian, Crowther, Bruce.
Blackout: World War II and the Origins of Film Noir / Edition 1
Film Noir: Reflections in a Dark Mirror. Continuum,, Dickos, Andrew. Street with no name: a history of the classic American film noir. Kentucky, Dimendberg, Edward. Film noir and the spaces of modernity. Harvard, Dixon, Wheeler Winston Film noir and the cinema of paranoia. Rutger, Durgnat, Raymond. Faison, Stephen E. Existentialism, film noir, and hard -boiled fiction. Cambria, Fay, Jennifer. Film noir: hard -boiled modernity and the cultures of globalization.
Flory, Dan. Philosophy, Black film, film noir. Pennsylvania State, Gifford, Barry. Out of the past: adventures in film noir. Mississippi, Hannsberry, Karen Burroughs. Femme Noir: Bad Girls of Film. McFarland, Hanson, Helen. Hollywood heroines : women in film noir and the female gothic film.
Hare, Wil liam. Early film noir: greed, lust and murder Hollywood style. McFarland, c