Film noir has long been recognized as rich terrain for film theory and analysis. Until recently, feminist, psychoanalytic, narratological, and generic/historical approaches have dominated the field. However, James Naremore's recent study, _More Than Night_, presents noir less as a genre, period or style than as the nebulous signifier of a "liminal space" lying "between Europe and America, between high modernism and 'blood melodrama,' and between low-budget crime movies and art cinema" (220). Naremore's work opens new pathways for investigation of the cultural, political and social milieux of film noir. These investigations are especially apt, given that many noir artists were also members of the Hollywood Left and managed to smuggle subversive messages into mainstream cinema.
For this panel, a proposed special session at the 2004 MLA Convention in Philadelphia, I invite new scholarship that analyzes film noir from political, social, historical, or economic perspectives, where noir serves as a proving ground for vexed issues of class, technology, gender, race/ethnicity, disability, or Cold War politics. I am particularly interested in scholarship on the classic period (1940-1959). Please send 250-word abstracts only by 1 March to Mark Osteen (mosteen@loyola.edu)
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