![]() ![]() feminist (film) theory? Miklitsch takes a different, yet valid approach to film analysis. After all, is not a work like Laura Mulvey’s seminal essay on the male gaze the result of an overarching framework, i.e. Miklitsch prefaces I Died a Million Times by stating that “ndividual films should not be subordinated to an overarching argument or theoretical approach.” This premise, which is both bold and distinctive, seems surprising at first. In his new book, Miklitsch continues the exploration of 1950s film noir which he previously embarked upon in The Red and the Black: American Film Noir in the 1950s (2016). With I Died a Million Times: Gangster Noir in Midcentury America (Illinois, 2021) film scholar Robert Miklitsch takes another step towards rectifying this oversight. ![]() Yet, while 1940s films such as Double Indemnity (Billy Wilder, 1944), The Postman Always Rings Twice (Tay Garnett, 1946) and Gilda (Charles Visor, 1946) tend to rank high in the noir canon, 1950s noir receives less critical and scholarly attention – exception for of a handful of films such as In a Lonely Place (Nicholas Ray, 1950), The Big Heat (Fritz Lang, 1953) or Touch of Evil (Orson Welles, 1958). The 1940s and 1950s are generally regarded as the classic period of film noir. In my books on ’50s noir, I was particularly intrigued with how certain ‘structures of feeling’ impact the genre, be it ‘the Bomb’ or the ‘red scare,’ the civil rights movement or the beginning of the end of the classical studio system.” ![]()
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