Looks that kill: Double Indemnity (1944) reimagined in postmodern neo-noir and television

IF 0.3 2区艺术学 0 FILM, RADIO, TELEVISION

New Review of Film and Television Studies Pub Date : 2022-04-19 DOI:10.1080/17400309.2022.2060009

Michael Lipiner, Yael Maurer

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Abstract

ABSTRACT This article examines the transformation of the femme fatale figure from classic noir to neo-noir film and to contemporary television. Exploring the reasons for this transformation and its implications yields fresh revelations about the new femme fatale. Using Billy Wilder’s Double Indemnity (1944) as the focal point, we examine the intertextual allusions to this classic in two postmodern neo-noir films – Lawrence Kasdan’s Body Heat (1981) and John Dahl’s The Last Seduction (1994) – and in one of Netflix’s earliest original television series, House Of Cards (2013–2018), created by Beau Willimon. In addition, this article queries in what ways these filmic reincarnations offer a revolutionary re-envisioning of the femme fatale figure. Unlike the classic femme fatale, the new femme fatale ‘gets away with murder’, thus posing a monstrous threat to the capitalist and patriarchal economy in which she operates. The subversive potential of these neo-noir films lies in their parodic and witty undercutting of societal norms, especially at the height of today’s #MeToo Movement.

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《双重赔偿》(Double Indemnity, 1944)被后现代新黑色电影和电视重新演绎

摘要本文探讨了蛇蝎美人形象从经典黑色电影到新黑色电影再到当代电视的转变。探索这种转变的原因及其影响，会对新的蛇蝎美人产生新的启示。以比利·怀尔德（Billy Wilder）的《双重赔偿》（1944）为焦点，我们在两部后现代新黑色电影——劳伦斯·卡斯丹（Lawrence Kasdan）的《身体发热》（Body Heat）（1981）和约翰·达尔（John Dahl）的《最后的诱惑》（the Last Seduction）（1994）——以及由博·威利蒙（Beau Willimon。此外，本文还质疑这些电影转世以何种方式对蛇蝎美人形象进行了革命性的重新想象。与经典蛇蝎美人不同，新蛇蝎美人“逍遥法外”，从而对她经营的资本主义和父权制经济构成了可怕的威胁。这些新黑色电影的颠覆潜力在于它们对社会规范的戏仿和诙谐的颠覆，尤其是在当今#MeToo运动的鼎盛时期。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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New Review of Film and Television Studies FILM, RADIO, TELEVISION-

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0.50

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