4. Anneke Smelik wrote, “Subjectivity is understood as a constant process of self-production rather than as a fixed entity” (2). How has the notion of women’s subjectivity progressed from the film noir cycle to modern noirs? Thinking about the choices/actions of women in film noir and their ability (or inability) to shape their own destiny, is there a degree of empowerment in later films absent in the first cycle? You might say instead that the earlier femmes provided an empowerment model for later women. This option requires a comparison-and-contrast essay model. You can use a point-by-point or block model.
Example of block model:
I. Introduction includes thesis statement of essay’s focus on comparative analysis of female subjectivity in film noir and neo noir.
II. Define film noir and its characteristics
III. Explain relevant theory and/or key terms:
IV. Define/explain subjectivity (Smelik) or other terms you find useful, such as femme fatale.
V. Discuss subjectivity in Double Indemnity
VI. Discuss subjectivity in The Postman Always Rings Twice
VII. Discuss subjectivity in Out of the Past
VIII. Define neo noir and its characteristics
IX. Discuss subjectivity in Devil in a Blue Dress
X. Discuss subjectivity in Jackie Brown
XI. Optional: Discuss subjectivity in Jessica Jones/other
XII. Sum up similarities and differences of subjectivity in film noir and neo noir
XIII. Conclusion describes progression of subjectivity and looks to the future.
Relevant readings may include Smelik, Bastien (both articles), Butler, Tasker, Caputi and Sagle, and Williams.
