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• catalog abstract "This book is primarily a study of the psychological threat posed by attractive female characters to the male protagonists of American detective and crime films over a fifty-year period. In the films of the 1940s (The Maltese Falcon, Double Indemnity, Murder, My Sweet, Out of the Past, and White Heat), an attractive female character is literally a murderess, who poses a threat of varying degrees of intensity to the life of the male protagonist. Alfred Hitchcock's 1956 film Vertigo serves as a transition to a different understanding of the role of the fatal woman. Although Judy/Madeleine has been used by Elster in a plot to murder his wife, her degree of complicity in the crime is never made explicit. The film emphasizes not her role in the murder of the real Madeleine, but rather her devastating effect on the psyche of the male protagonist of the film, Scottie Ferguson. In certain later films, although an attractive female character is presented primarily as a victim, she nonetheless has an extremely destructive effect on the self-image of the male protagonist. In two films, Point Blank and Mean Streets, the hero's involvement with a woman is less threatening than his emotional dependency on a male friend because a strong emotional tie between men also undermines the illusion of self-sufficiency and dominance that our culture upholds as the male ideal. To be sure, two of the later films considered in this volume return to the forties conception of the fatal woman as literal killer. Only in Thelma and Louise, the final film under discussion, is feminine violence portrayed as in any sense warranted - as a justifiable resistance to male tyranny.".
• catalog contributor b9508868.
• catalog created "c1996.".
• catalog date "1996".
• catalog date "c1996.".
• catalog dateCopyrighted "c1996.".
• catalog description "1. La Belle Dame Sans Merci and the Neurotic Knight: Characterization in The Maltese Falcon -- 2. Something Loose in the Heart: Wilder's Double Indemnity -- 3. A Dive into the Black Pool: Edward Dmytryk's Murder, My Sweet -- 4. Love in the Dark: Howard Hawks's Film Version of The Big Sleep -- 5. Out of the Past: The Private Eye as Tragic Hero -- 6. "With You Around, Ma, Nothin' Can Stop Me": The Tangled Emotions of Cody Jarrett -- 7. A Dreamer and His Dream: Another Way of Looking at Hitchcock's Vertigo -- 8. A Revenger's Tragedy: John Boorman's Point Blank -- 9. "The Worst Part": Martin Scorsese's Mean Streets -- 10. "The Injustice of It All": Polanski's Revision of the Private Eye Genre in Chinatown -- 11. Eating Their Children: The Honor of the Prizzis -- 12. "Now It's Dark": The Child's Dream in David Lynch's Blue Velvet -- 13. "Permanent Damage": Maternal Influence in The Grifters -- 14. "We Don't Live in That Kind of World, Thelma": Triumph and Tragedy in Thelma & Louise.".
• catalog description "Alfred Hitchcock's 1956 film Vertigo serves as a transition to a different understanding of the role of the fatal woman. Although Judy/Madeleine has been used by Elster in a plot to murder his wife, her degree of complicity in the crime is never made explicit. The film emphasizes not her role in the murder of the real Madeleine, but rather her devastating effect on the psyche of the male protagonist of the film, Scottie Ferguson.".
• catalog description "In certain later films, although an attractive female character is presented primarily as a victim, she nonetheless has an extremely destructive effect on the self-image of the male protagonist. In two films, Point Blank and Mean Streets, the hero's involvement with a woman is less threatening than his emotional dependency on a male friend because a strong emotional tie between men also undermines the illusion of self-sufficiency and dominance that our culture upholds as the male ideal.".
• catalog description "Includes bibliographical references (p. 188-191) and index.".
• catalog description "This book is primarily a study of the psychological threat posed by attractive female characters to the male protagonists of American detective and crime films over a fifty-year period. In the films of the 1940s (The Maltese Falcon, Double Indemnity, Murder, My Sweet, Out of the Past, and White Heat), an attractive female character is literally a murderess, who poses a threat of varying degrees of intensity to the life of the male protagonist.".
• catalog description "To be sure, two of the later films considered in this volume return to the forties conception of the fatal woman as literal killer. Only in Thelma and Louise, the final film under discussion, is feminine violence portrayed as in any sense warranted - as a justifiable resistance to male tyranny.".
• catalog extent "194 p. :".
• catalog hasFormat "Fatal woman.".
• catalog identifier "0838636624 (alk. paper)".
• catalog isFormatOf "Fatal woman.".
• catalog issued "1996".
• catalog issued "c1996.".
• catalog language "eng".
• catalog publisher "Madison : Fairleigh Dickinson University Press ; London : Associated University Presses,".
• catalog relation "Fatal woman.".
• catalog spatial "United States".
• catalog subject "791.43/652042 20".
• catalog subject "Femmes fatales in motion pictures.".
• catalog subject "Film noir United States History and criticism.".
• catalog subject "PN1995.9.F44 M38 1996".
• catalog tableOfContents "1. La Belle Dame Sans Merci and the Neurotic Knight: Characterization in The Maltese Falcon -- 2. Something Loose in the Heart: Wilder's Double Indemnity -- 3. A Dive into the Black Pool: Edward Dmytryk's Murder, My Sweet -- 4. Love in the Dark: Howard Hawks's Film Version of The Big Sleep -- 5. Out of the Past: The Private Eye as Tragic Hero -- 6. "With You Around, Ma, Nothin' Can Stop Me": The Tangled Emotions of Cody Jarrett -- 7. A Dreamer and His Dream: Another Way of Looking at Hitchcock's Vertigo -- 8. A Revenger's Tragedy: John Boorman's Point Blank -- 9. "The Worst Part": Martin Scorsese's Mean Streets -- 10. "The Injustice of It All": Polanski's Revision of the Private Eye Genre in Chinatown -- 11. Eating Their Children: The Honor of the Prizzis -- 12. "Now It's Dark": The Child's Dream in David Lynch's Blue Velvet -- 13. "Permanent Damage": Maternal Influence in The Grifters -- 14. "We Don't Live in That Kind of World, Thelma": Triumph and Tragedy in Thelma & Louise.".
• catalog title "The fatal woman : sources of male anxiety in American film noir, 1941-1991 / James F. Maxfield.".
• catalog type "Criticism, interpretation, etc. fast".
• catalog type "text".