Twilight : age, beauty, and star power - survival of the fittest Fargo : a woman who is not herself mean - snow-swept highways and Margie Jackie Brown : gender, race, class, and genre Conclusions : doing it for bell : cultural criticism and social change.
Notes Formerly CIP. Includes bibliographical references and index. Electronic reproduction. Digital Library Federation, December Online version available for university members only. Set up My libraries How do I set up "My libraries"?
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Dickos, Andrew 7 June Palmer, R. Rating details. Books by Jans B. Alexa Actionable Analytics for the Web. With its focus on dangerous, determined femmes fatales, hardboiled detectives, and crimes that almost-but-never-quite succeed, film noir has long been popular with moviegoers and film critics alike. It paid close attention to those spirited femmes who resisted patriarchal norms, and in particular to a female sexual agency that was never entirely contained by the text.
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No customer reviews. Share your thoughts with other customers. Write a customer review. Most helpful customer reviews on Amazon. May 18, - Published on Amazon. Verified Purchase. While Jans Wager's book reads a bit like it was written for a college course on Feminism and Film, it has some interesting points to make, especially about film noir criticism itself.
Her first valuable point is that the femme fatale in traditional film noir is not only fatal to the male protagaonist in the film, but she is invariably fatal to herself.
This point, and its implications, is virtually always overlooked in film noir criticism. The "fatal fate" of the femme fatale is one of the major differences between film noir and neo noir. Wager goes on to explore this point through various movies, both of the film noir and neo noir style.
Wager explores how African Americans are either totally absent from film noir even though virtually all film noir is based in American cities or they are used, tangentially, to provide "hipness" to the male protagonist in the movie. For the most part, this observation is still holds true today with neo noir. And finally Wager makes the point that recent movies, that are routinely labeled as neo noir, should rightfully be broken down into two categories, retro noir and neo noir--the difference being primarily how women are portrayed in the movies--both the femme fatales and the femme atrappes trapped women, the good girls of film noir.
If the women are portrayed as agents of their own destiny, for good or bad consequence and not simply as appendages of the male characters in the movie, then the style should rightfully be called neo noir.