Ian Brookes teaches in the Department of Culture, Film and Media at the University of Nottingham, UK, where he has taught film noir courses for several years. He is also the editor of Howard Hawks: New Perspectives (2016).

• Acknowledgements IntroductionPart 1: What is Film Noir?1. Genre and the Problem of Film Noir2. Visual Style and Narrative Themes3. Genre and GenderPart 2: The History of Film Noir4. Prehistory and the Wartime Period, 1939-19455. The Postwar Period, 1945-19506. The Late Period, 1950-1958Part 3: Case Study: The Veteran Problem and Postwar Film Noir7. The Discourse of Veteran Readjustment8. The Veteran and the Readjustment Narrative9. Conformity, Community, and CitizenshipCoda: The End of Film Noir BibliographyFilmography Index

Film Noir has long been a fascinating, complex cinematic period style. For students interested in the problematic conception of noir as a genre, Ian Brookes surveys critical, theoretical, and historiographic scholarly discourse on noir and its multifaceted nature. Brookes traces conceptions of noir from early pre-noir antecedents to wartime and postwar incarnations of the classic noir cycle, and examines the anxieties of returning veterans.

Ian Brookes teaches in the Department of Culture, Film and Media at the University of Nottingham, UK, where he has taught film noir courses for several years. He is also the editor of Howard Hawks: New Perspectives (2016).

• Acknowledgements IntroductionPart 1: What is Film Noir?1. Genre and the Problem of Film Noir2. Visual Style and Narrative Themes3. Genre and GenderPart 2: The History of Film Noir4. Prehistory and the Wartime Period, 1939-19455. The Postwar Period, 1945-19506. The Late Period, 1950-1958Part 3: Case Study: The Veteran Problem and Postwar Film Noir7. The Discourse of Veteran Readjustment8. The Veteran and the Readjustment Narrative9. Conformity, Community, and CitizenshipCoda: The End of Film Noir BibliographyFilmography Index

Film Noir has long been a fascinating, complex cinematic period style. For students interested in the problematic conception of noir as a genre, Ian Brookes surveys critical, theoretical, and historiographic scholarly discourse on noir and its multifaceted nature. Brookes traces conceptions of noir from early pre-noir antecedents to wartime and postwar incarnations of the classic noir cycle, and examines the anxieties of returning veterans.

Ian Brookes teaches in the Department of Culture, Film and Media at the University of Nottingham, UK, where he has taught film noir courses for several years. He is also the editor of Howard Hawks: New Perspectives (2016).

• Acknowledgements IntroductionPart 1: What is Film Noir?1. Genre and the Problem of Film Noir2. Visual Style and Narrative Themes3. Genre and GenderPart 2: The History of Film Noir4. Prehistory and the Wartime Period, 1939-19455. The Postwar Period, 1945-19506. The Late Period, 1950-1958Part 3: Case Study: The Veteran Problem and Postwar Film Noir7. The Discourse of Veteran Readjustment8. The Veteran and the Readjustment Narrative9. Conformity, Community, and CitizenshipCoda: The End of Film Noir BibliographyFilmography Index

Film Noir has long been a fascinating, complex cinematic period style. For students interested in the problematic conception of noir as a genre, Ian Brookes surveys critical, theoretical, and historiographic scholarly discourse on noir and its multifaceted nature. Brookes traces conceptions of noir from early pre-noir antecedents to wartime and postwar incarnations of the classic noir cycle, and examines the anxieties of returning veterans.