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Film Noir and the Cinema of Paranoia$
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Wheeler Winston Dixon

Print publication date: 2005

Print ISBN-13: 9780748623990

Published to Edinburgh Scholarship Online: March 2012

DOI: 10.3366/edinburgh/9780748623990.001.0001

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The Postwar Bubble

The Postwar Bubble

Chapter:
(p.37) Chapter 2 The Postwar Bubble
Source:
Film Noir and the Cinema of Paranoia
Author(s):

Wheeler Winston Dixon

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748623990.003.0003

Women were among those who eagerly embraced the new world of film noir, having been cut out of the film industry since the 1920s. None did it with more style and verve than Ida Lupino, who directed Not Wanted, a story of children born out of wedlock. Although there had been numerous women directors working in Los Angeles in the 1920s and 1930s, including Lois Weber, Ida May Park, Ruth Stonehouse, Cleo Madison, Dorothy Arzner, and a number of others, by 1943 women had effectively been dismissed from the director's chair. Arzner was the only woman director working in the Hollywood film industry in the early 1940s; her last film was First Comes Courage (1943). An example of noir during this period is John Brahm's Guest in the House (1944), in which the corrosive force is not greed, or the lust for money and power, but rather madness, and possessive jealousy. Other examples are Reginald LeBorg's Fall Guy (1947), D. (David) Ross Lederman's Escape from Crime (1942) and Jean Renoir's Woman on the Beach (1947).

Keywords:   Ida Lupino, film noir, Not Wanted, women directors, Dorothy Arzner, Hollywood, First Comes Courage, Jean Renoir, Woman on the Beach, Fall Guy

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