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The depictions of women in film noir come in a range of archetypes and stock characters, including the alluring femme fatale.A femme fatale (/ ˌ f æ m f ə ˈ t ɑː l / or / ˌ f ɛ m f ə ˈ t ɑː l /; French: [fam fatal], literally "lethal woman"), is a prevalent and indicating theme to the style of film noir.
Phyllis Dietrichson (Phyllis Nirdlinger in the book) is a fictional character in the book and two film adaptations of James M. Cain's novella Double Indemnity. For the 1944 film of the same name, Barbara Stanwyck was nominated for the Academy Award for Best Actress. The character is considered one of the best femme fatale roles in film noir ...
Femmes fatales were standard fare in hardboiled crime stories in 1930s pulp fiction.. A femme fatale (/ ˌ f ɛ m f ə ˈ t æ l,-ˈ t ɑː l / FEM fə-TA(H)L, French: [fam fatal]; lit. ' fatal woman '), sometimes called a maneater, [1] Mata Hari, or vamp, is a stock character of a mysterious, beautiful, and seductive woman whose charms ensnare her lovers, often leading them into compromising ...
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This three book (so far) series by Nicola Griffith began in 1998; Kay Tracey is a Nancy Drew—like 16-year-old girl detective in a series published 1934–1942 under the name Frances K Judd, a house pseudonym of the Stratemeyer Syndicate. The books were revised and re-issued several times after initial publication, most recently in the 1980s.
Constance Frances Marie Ockelman (November 14, 1922 – July 7, 1973), known professionally as Veronica Lake, was an American film, stage, and television actress.Lake was best known for her femme fatale roles in films noir with Alan Ladd during the 1940s, her peek-a-boo hairstyle, and films such as Sullivan's Travels (1941) and I Married a Witch (1942).
Women’s History Month is an excellent time to learn about the trailblazing women who came before us and are currently changing the world. Many women’s achievements have been given an even ...
Film noir (/ n w ɑːr /; French: [film nwaʁ]) is a style of Hollywood crime dramas that emphasizes cynical attitudes and motivations. The 1940s and 1950s are generally regarded as the "classic period" of American film noir. Film noir of this era is associated with a low-key, black-and-white visual style that has roots in German expressionist ...