The Racial Politics of Film Noir (and Neo-Noir).

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Zeroing in on race, and how it’s treated in filmnoir (and neo-noir), give a critical interpretation of its place, its function, and its presence (or absence) in one or more of the following films (e.g., Thieves’ Highway, Kiss Me Deadly, Touchof Evil, Devil in a Blue Dress, L.A. Confidential). What do these noirs and/or neo-noirs have to say aboutrace in America after the Second World War and in our time?






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