This book forms an innovative departure from traditional film noir scholarship by introducing a biocultural approach to the genre. Focusing on theunderexplored French counterpart of Hollywood noir, the author reveals that theformer's dark aesthetics and gendered, fatal passions are deeply underpinned bythe socio-political context of both occupied and post-war Fourth RepublicFrance – and yet still affected by evolutionary imperatives. This richlyanalytical study therefore provides a crucial alternative to thinking aboutgender as a construct, and whilst not negating these ideas, examines them inthe light of biological root causes. The author argues, for example, that during this period the emerging urgent demand for population growth, coupled with the severe shortage ofeligible males, rendered the mating game particularly perilous for traditionalFrench women beginning to enter the workplace. This is clearly reflected in thecynical objectives and seductive behaviour of the femme fatale. Covering a corpus of over fifty films from 1941 to 1959, Deborah Walker-Morrison focuses on the dangerous, often fatal, desires ofan array of male and female character-types: moving past the celebrated, fatal 'femme' to tragic heroines, psychopathic narcissists, fatal 'hommes' and gangster anti-heroes. The book re-examines productionsby influential directors such as Henri Georges-Clouzot, Jacques Becker andJules Dassin and pulls together strands of sociological, biological andevolutionary science to create a rare, insightful study of the cut-throat worldof noir.
The cut-throat world of noir is a mirror on the idea of survival of the fittest by any means possible.
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