4. The Killer is Loose (1956) and the Televisual Dissolution of Film Noir

Chapters in this book

1. Frontmatter i
2. Contents v
3. Notes on Contributors vii
4. Introduction 1
5. Part 1 The Non-Westerns
6. Part 1 Introduction 13
7. 1. “I never did think he was crazy”: Mystery and Criminality in Boetticher’s Psychological Noirs 15
8. 2. On Ethics and Style in Bullfighter and the Lady (1951) 28
9. 3. Domestic Tension and Male Hysteria: The Killer is Loose (1956) 40
10. 4. The Killer is Loose (1956) and the Televisual Dissolution of Film Noir 55
11. 5. Adventures on the Small Screen: Boetticher, Warner Bros., and Maverick 75
12. 6. The Signifying Heel: Boetticher’s The Rise and Fall of Legs Diamond (1960) 102
13. Part 2 The Westerns
14. Part 2 Introduction 119
15. 7. The Ranown Cycle: Budd Boetticher’s “New Look” Western Programmers in 1950s Hollywood 121
16. 8. Framings, Motifs, and Floating Poker Games in Seven Men from Now (1956) 135
17. 9. The Ranown Style: Mapping Textual Echoes 149
18. 10. You Were Married, But You Never Had a Wife: The Use of Space in the Westerns of Budd Boetticher 166
19. 11. Ideology and Boetticher’s Westerns from the Late 1950s 188
20. 12. Outlaws Without a Cause: Generational Conflict in Budd Boetticher’s Ranown Cycle 206
21. 13. The Box in the Desert: Budd Boetticher, Breaking Bad, and the Twenty-first-century Western 228
22. Index 241