Noir gay

Interestingly, all three stories could carry on into a second book – they’re just open-ended enough to make me wonder what might happen next. Who is the real victim? However, if we use iconography in a slightly broader sense to refer to types of setting and star, there are some characteristic features.

SETTINGS. The Deluded centers on a young would-be writer, whose guilty innocence lures him into an emotionally-fraught triangular relationship involving Jewish refugees and stolen jewels.

Now I’ve come full circle, returning to work behind the camera.  All of the models brought their A-game and I think we made some really great porn. It is noticeable that the lesbian iconography is less elaborated and precise than that for gay men (because lesbian culture has had greater difficulty in developing under the double oppression of gayness and femaleness).

Film noir, however, tends to collapse these two worlds into each other. If such an atmosphere is evoked at all, it serves to sharpen the depiction of the noir world by being under threat from the latter (KISS OF DEATH) or actually destroyed by it (THE BIG HEAT). As women with jobs (not just roles as wives, mothers or lovers) they enter the instrumental world, but because they are women they can also act in concert with other women, thus effectively blocking the hero in both the instrumental and the sexual spheres.

        Jo   —  tailored suits, shortish hair, overall military precision of dress

TONY ROME. These may have two effects. For a fuller exploration of this, see the Place and Peterson article.

GAYS IN FILM NOIR

How are gays represented in film noir, and what are they doing in it?

McArthur, ibid.; Robert Warshow, "The Gangster as Tragic Hero," The Immediate Experience (New York: Doubleday Anchor, 1964).

6.J A. Place and L. S. Peterson, "Some Visual Motifs of Film Noir," Film Comment, 10:1 (Spring 74).

7.There are accounts of ROPE in Higham and Greenberg's Hollywood in the Forties and in Movie Reader.

8.Leslie Fiedler, Love and Death in the American Novel (New York: Stein and Day, 1960).

9.

We are honored to have him join our directing ranks.”

                                                     

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Lest we imagine Spade's suspicion of Brigit is itself suspicious, we have Cairo and Guttman to remind us of how far Spade is removed from that sort of thing.

GILDA

GILDA has a different emphasis. Indeed, the lunch counter comes close to being one of the true icons of the form (as in POSTMAN, THE KILLERS (1946), THE STRANGER ON THE THIRD FLOOR, and OUT OF THE PAST).

As a continuous run of films, it lasted only from 1941 (THE MALTESE FALCON) to 1955 (KISS ME DEADLY). But since Bruno has set this up and since Guy finds himself talking to Bruno, who is waiting for Guy in bed in pajamas, may we not, as Gerald Peary has suggested to me, read this as a blind alley actually constructed in the hope of homosexual seduction?

In most instances, gays function as both villains and frustrations of the heterosexual development, as do the femmes fatales.

However, with film noir, where flashback is often extensively used, uncertainties begin to creep in. The labyrinthine structures of the film have hitherto concentrated on Ballen, the mirror-maze effects of the night club, and the impenetrability of his secret (tungsten) sadomasochism in heterosexual relationships.