5. ‘My Mama Done Tol’ Me’: Jewish Émigré Noir, Hybridity, and Black-Jewish Relations in Blues in the Night

Kapitel in diesem Buch

1. Frontmatter i
2. CONTENTS v
3. List of Figures vii
4. Acknowledgements ix
5. Notes on Contributors xi
6. Traditions in World Cinema xv
7. Introduction: Liminality and the Boundaries of Film Noir 1
8. PART I. EXPOSING CULTURAL ANXIETIES
9. 1. The Despair of the Noir Generation: Wajda’s Ashes and Diamonds 11
10. 2. The Fleap Being Neither Flea nor Fly: Ida Lupino’s Interrogations of Female Trauma in Never Fear 23
11. 3. Running Aimlessly: Camino Cortado and Autarkic Spain 37
12. 4. Race and the Noir Western: Navigating The Walking Hills 51
13. PART II. RECONCEPTUALISING NATIONAL CINEMAS
14. 5. ‘My Mama Done Tol’ Me’: Jewish Émigré Noir, Hybridity, and Black-Jewish Relations in Blues in the Night 69
15. 6. Expressionism, Existentialism, and Socialism in Scars of the Past 87
16. 7. The Deadly Seduction of a Rake: British Costume Melodrama, Noir, and the ‘Othered’ Woman in The Gypsy and the Gentleman 105
17. 8. Argentine Gothic-Noir Fusion in The Black Vampire 131
18. PART III. AESTHETICS AND ANTECEDENTS
19. 9. A ‘Feeling of Suspension’: Tradition and Modernity in La Pointe Courte 147
20. 10. Dostoyevsky ’58: Richard Brooks’s Brothers Karamazov as Baroque Noir 161
21. 11. Men in Black: I Confess, the Hitchcock Noir, and the American Gothic 180
22. Selected Bibliography 195
23. Index 207