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Extra resources for Class, Crime and International Film Noir: Globalizing America’s Dark Art

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Business countered, though, by raising prices by 55 percent in the same period to pass along the increases, giving rise to feelings in the workers of being trapped in a system where even if they won, they lost (Ehrmann 1947, p. 72). The Senate, bastion of the 200 French Film Noir and the Popular Front 37 families, continued to oppose the Popular Front government and Blum resigned in 1937 in frustration. Successive governments, including Blum’s second administration, moved to the right until, under the government of Edouard Daladier, the finance minister Paul Reynaud broke off the partnership with the workers and threatened to drive them ‘back into the ghetto’ ( Jackson 1988, p.

These similarities suggest a potential application of theoretical paradigms originating in television studies. ) In considering these various cinemas grouped together we might adopt that crucial term from television studies ‘flow,’ coined by Raymond Williams in describing the television stream as ‘a single irresponsible flow of images and feelings’ (qtd. in Parks and Kumar 2003, p. 99). Here, though, in applying the characterization to a resistant formation as opposed to the commercial formation of network television, we have a single irrepressible flow of the images and feelings of an embattled class as it sustains a blow.

28 Introduction Each chapter is broken into four sections. The first section is a social, political, and economic summary of the country’s post-war position, paying particular attention to the position of labor and its antagonists. Section two is a summary of the mode of production in that country’s film industry and a description of the gains and defeats of crafts and creative workers within the industry. Section three summarizes the social cinema of the period and its transformation or movement into, or adoption of, the tropes of the crime film and film noir.

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