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"Women in Film Noir "is one of the classic course texts of film studies, a groundbreaking attempt to chart the ways in which meanings and fantasies are produced in film noir through representations of the femme fatal and other female roles. First published in 1978, "Women in Film Noir "assembled a group of scholars and critics committed to understanding the cinema in terms of gender, sexuality, politics, psychoanalysis, and semiotics. This work remains fresh and insightful and is reprinted here.
For this new expanded edition, the editor has brought together further essays that reflect renewed interest in film noir. Exploring "neo-noir," postmodernism, and other contemporary trends, new essays offer readings of, among others, "Bound" and "Basic Instinct, " broadening the scope of the book to include questions of race and homosexuality.
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Table of Contents

Klute 1 a contemporary Film Noir and feminist criticism, Christine Gledhill; woman's place the absent family of Film Noir, Sylvia Harvey; women in Film Noir, Janey Place; duplicity in 'Mildred Pierce', Pam Cook; the place of women in Fritz Lang's 'The Blue Gardenia', E. Ann Kaplan; 'Double Indemnity', Claire Johnston; 'Klute'.- 2 feminism and 'Klute', Christine Gledhill; resistance through charisma Rita Hayworth and 'Gilda', Richard Dyer; postscript queers and women in Film Noir, Richard Dyer; female spectator, lesbian spectator 'The Haunting', Patricia White; femme fatale or lesbian femme 'Bound' in sexual difference, Chris Straayer; the postmodern always rings twice constructing the femme fatale in 1990's cinema, Kate Stables; the 'dark continent' of Film Noir race, displacement and metaphor in 'Cat People' and 'The Lady from Shanghai', E. Ann Kaplan; 'Gilda' didn't do any of those things you've been losing sleep over the central women in 1940s Film Noir, Angela Martin.

Reviews

"A major text of feminist criticism."--"Film Quarterly

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