Nightmare Alley - Film Noir And The American Dream (60 page)

Conference of Studio Unions,
222

conformity,
3
,
16
,
18
,
240

Conrad, William,
232

consumer goods,
2
,
5
,
6
,
10
,
261

consumerism,
6
,
12
,
249
,
251

Conte, Richard,
169
,
175
,
227
,
271
–72n23

conversion narratives,
20
,
23
,
47

convertibility,
134
,
138
–39,
140
,
152

convertibles,
142
,
143
,
144
,
145
,
147
,
151
,
201

and convertibility,
16
,
134
,
138
–39

as means of empowerment,
147
–48

as sign of mobility,
144
,
275
n4

Cook, Elisha, Jr.,
159

Cook, Pam,
204

Cooper, George,
85

Cooper, Maxine,
150

Corey, Jeff,
226

Corey, Wendell,
199
,
201

Cornered
,
78
,
86
–87,
271
nn15–17,
285
–86n3

Cortesa, Valentina,
227

counterfeiting,
16
,
62

Cover Girl
,
192

Cowie, Elizabeth,
280
n1

Cowl, Jane,
63

Crack-Up
,
106
–7,
127
–31,
274
–75nn21–27

Craig, James,
170

Crain, Jeanne,
115

Crawford, Joan,
189
,
197
,
205

Cregar, Laird,
108
,
115

crime and criminality,
17
,
24
,
25
,
130
,
242
–43

and American Dream,
4
,
199
,
226

automobiles and,
135
,
136
,
146
,
148
,
149

capitalism and,
17
,
220
,
228
,
234
–35,
240
–41,
249

as left-handed form of human endeavor,
17
,
220
,
243

noncriminals and,
289
–90n42

organized,
220
,
234
–35,
240
–41,
289
nn41–42

and upward mobility,
63
,
220
–21,
259

crime jazz,
174
,
279
n29

Criss Cross
,
160
,
277
nn11–12

Cromwell, John,
208

Cronyn, Hume,
225

Crooked Way, The
,
78
,
95
–97

Crossfire
,
84
–86,
270
–71nn12–14

HUAC and,
86

Crowther, Bosley,
287
n18

Cullen, Jim,
2
,
3
,
47

Cummings, Robert,
31
,
202

Cummins, Peggy,
140
,
141

Curran, Dale,
276
–77n4

Dalí, Salvador,
40
,
127
–28,
274
n24

Dall, John,
140
,
141

Damarest, William,
170

Damned Don’t Cry, The
,
197
–99,
281
–82nn19–20

Damone, Vic,
278
n22

D’Andrea, Tom,
66

Danger! Women at Work
,
281
n18

Dark Corner, The
,
106
,
113
–15,
273
nn9–11

Dark Passage
,
48
,
65
–69,
268
–69nn22–23

Dark Past, The
,
19
,
24
–25,
45

Dark Waters
,
192

Da Silva, Howard,
83
,
138
,
245

Dassin, Jules: and
Brute Force
,
225
,
226

and Hollywood Left,
17
,
220
,
221

and
Naked City
,
226
,
287
n16

and
Thieves’ Highway
,
227
,
228
,
287
n19

and witch hunt,
224
,
228
,
234

Daves, Delmer,
65

Davidson, Michael,
77

Dead Reckoning
,
88
–90

de Bolla, Peter,
124

Decker, John,
274
n19

Declaration of Independence,
2
,
209

Dekker, Albert,
51
,
150

DeLillo, Don,
5

democracy,
12
,
220

Desperate
,
139
–40,
276
n7

Detour
,
142
–44,
161
–62,
276
nn12–14

Deutsch, Helen,
137

Devil Thumbs a Ride, The
,
144

Diana Productions,
14
,
121
–22

Dieterle, William,
282
n28

Dietrichson, Phyllis,
185

Dimendberg, Edward,
132
,
175

disability,
15
,
77
,
78
,
93
,
270
n2,
270
n5

cognitive,
77
,
78
,
80

and gender roles,
270
n10

and jazz,
154
,
168

and masculinity,
78
,
83

moral,
77
,
101

disabled veterans,
15
–16,
77
–79,
93
,
105
,
170
,
214

and amnesia,
77
,
78
–79,
88
,
92
–97,
99
,
100
,
104

statistics on,
80
,
270
n6

stigma attached to,
272
n24

and trauma,
78
,
79
,
80
,
87
,
88
,
93
,
97
–98,
100
.
See also
veterans

Diskant, George,
139

displacement,
14
,
22
,
25
,
33
,
264
n2

Dmytryk, Edward: and
Cornered
,
86
,
271
n17,
285
–86n3

and
Crossfire
,
84
,
270
–71nn13–14,
285
–86n3

and HUAC,
223
,
286
n7

D.O.A
.,
160
–61,
171

Doane, Mary Ann,
193
,
213
,
281
nn15–17,
284
n45

domesticity,
148
,
179

and American Dream,
99
–100,
101
,
258
,
260

automobiles and,
133
,
135
,
136
–37,
139
,
140
,
148

heterosexual,
78
,
86

women and,
186
,
188
,
190

Donatello,
114
,
273
n11

Double Indemnity
,
13
,
132
,
133
,
188
,
275
nn1–2

doubles,
49
,
54
,
55
,
88
,
93
,
113
,
116

Douglas, Kirk,
54
,
228

Downs, Cathy,
113
,
114

Dowson, Ernest,
111
–12

Dozier, William,
271
n15

Dratler, Jay,
273
nn8–9

Dreadful Summit
(Ellin),
265
n13,
265
n15,
265
n17–18

dreams,
15
,
22
,
23
,
107

and cinema,
21
,
264
n3

and emotion,
23
,
44
–45,
265
n7

Freudian theory on,
20
,
22
–23,
24
,
265
n8

and guilt,
19
,
26
,
33
,
36
,
44
–45

and identity,
20
,
21

in jazz films,
162

and memory,
25
,
41
–42

as message from beyond,
26
,
44

oedipal,
24
,
25
–26,
28

and reality,
33

and self-reinvention,
20
,
21
,
37
,
47

as someone else’s,
19
–20,
23
,
33
,
36
–37,
40

trauma in,
26
,
42
–43,
44

and unconscious,
24
,
28
,
265
n8

as warning,
33
–34,
36
–37,
44

dream sequences,
15
,
20
–21,
264
n1

in
The Chase
,
32
–34

in
The Dark Past
,
19
,
24
–25

in
Laura
,
110
,
273
n6

in
Nightmare Alley
,
15

in
Possessed
,
206

in
Spellbound
,
40
–43,
266
n24

in
The Strange Affair of Uncle Harry
,
34
,
36
–37,
44
,
45

in
Strange Illusion
,
25
–26,
44

in
Stranger on the Third Floor
,
21

in
Try and Get Me!
,
252

in
The Woman in the Window
,
118
,
274
n16

Duff, Warren,
277
n7

Dunne, Philip,
222
–23

Dürer, Albrecht,
129
,
275
nn26–27

Duryea, Dan,
106
,
118
,
166
,
245

Dyer, Richard,
273
n10

Einfeld, Charles,
288
n26

Ellin, Stanley,
265
n13

Ellington, Duke,
174

Ellison, Ralph,
173

Emerald Productions,
214
,
215

Emerson, Ralph Waldo,
2
–3

émigrés.
See
immigrants

Endfield, Cyril,
17
,
220
,
250

and witch hunt,
224
,
245
,
250
,
255
,
290
–91n1

End of the Road
,
281
n18

Engels, Frederick,
230
,
235
,
237

Englund, Steven,
222
,
224
,
271
n17

Enterprise Studios,
14
,
284
n43

and
Body and Soul
,
231
,
234
,
288
n26

and
Caught
,
211
,
214
,
285
n47

expressionism,
82
,
129

Federal Bureau of Investigation (FBI),
238
,
289
n35,
290
n47

feminism,
185
,
210
,
215

femme fatales,
17
,
185
,
193
,
196
,
282
n25

femme noir,
187
,
188
–91,
218
,
219

The Accused
,
199
,
201
–3,
282
–83nn23–34

The Bigamist
,
147
,
215
,
216
–18,
285
nn51–55

Caged
,
207
–10,
284
nn40–41

Caught
,
5
,
211
–14,
284
–85nn44–47

The Damned Don’t Cry
,
197
–99,
281
–82nn19–20

Dark Waters
,
192

Gilda
,
192
–97,
281
nn14–17

Mildred Pierce
,
188
–91,
216
,
280
nn7–10

Not Wanted
,
214

Outrage
,
203
–4,
283
nn35–36

Phantom Lady
,
159
,
171
,
192
,
271
n20,
272
–73n1,
277
nn9–12,
281
n12

Possessed
,
205
–7,
283
–84nn37–39

File on Thelma Jordon, The
,
199
–201

Filmakers, Inc.,
211
,
215
–16,
218

film gris,
225
,
286
n13,
288
n25

film industry,
2
,
13
,
21
,
23
,
223