Beschreibung:
Shows how politics and aesthetics merge in American film noirs made between the late 1930s and the mid-1950s; their oft-noted uncanniness betrays the fear that un-American foes lurk within the homeland.
Illustrations viiAcknowledgments ixIntroduction: The Un-Americanness of Film Noir 11. Gestapo in America: Confessions of a Nazi Spy and Stranger on the Third Floor 272. White Collar Murder: Double Indemnity 573. Cuba, Gangsters, Vets, and Other Outcasts of the Islands: The Chase and Key Largo 914. North From Mexico: Border Incident, Hold Back the Dawn, Secret Beyond the Door, and Out of the Past 1235. Bad Boy Patriots: This Gun for Hire, Ride the Pink Horse, and Pickup on South Street 155Postscript: Darkness Visible 185Notes 205Bibilography 245Index 261