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Ben McCann

Grande vie [1960], Boulevard [1960]), chamber pieces (Marie-​Octobre [1959], Diaboliquement vôtre [1967]), and Gothic noir (La Chambre ardente [1962]). This period also saw Duvivier re-​imagine the coordinates of French noir and the fantasy film, two genres generally overlooked by most critics at the time. Voici le temps des assassins was not the final highpoint in his career, as most critics make out. Instead, post-​1956, Duvivier continued to push at the rigid boundaries between commercial and auteur projects, working with significant stars (Bardot, Darrieux, Delon

in Julien Duvivier
Tim Bergfelder

himself as an artistically ambitious Hollywood director. He had to be content to manufacture adventure and crime films’. 7 In some cases, noir classics were rejected much more forcefully. A case in point was Robert Siodmak’s gothic noir masterpiece The Spiral Staircase (1946), which was condemned upon its German release in 1948 as a ‘typically American invitation to moral corruption’; 8 it was met with calls for boycott from Germany’s two

in European film noir
Popular culture and (non-Whedon) authorship
Matthew Pateman

. Whedon's worlds are many things, but all of them are celebrations of popular culture in its many guises. Most notably, each of his major shows exists as a hybrid concoction of a range of popular genres (gothic, noir, sitcom and so on). In their very form, then, Whedon creates shows that are quintessentially located in popular culture. But while this may be true at a general level, it is also the case

in Joss Whedon
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Anatomy of a metaphor
John M. Ganim

noteworthy is a monograph on Murnau by Eric Rohmer. 35 Rohmer, after all, views issues of guilt and personal salvation in ways that are substantially different from the views embodied in the Faust legend. It is tempting to regard the sunlit, almost miniaturised Perceval le Gallois (1978) as a reversal of Faust , purging the themes of temptation and salvation from their Gothic, ‘ noir ’ associations

in Medieval film