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• W187557100 abstract "Film noir, arguably the most original and enduring American film style, first appeared in the early 1940s, has undergone many permutations, and remains a strong presence in con temporary film. This essay examines border relations in two films from that tradition: Out of the Past (1947) and L.A. Confidential (1997). Although set in the same place and era, the post-WWII United States, they were made fifty years apart and illustrate shifts dur ing the intervening half-century in U.S. perceptions of the cultures (particularly Latino) that lie across its borders as well as shifts in the relationship of those cultures to Anglo culture, in racial representation, and in film noir itself. Noir refers both to the dark look and the grim thematic of the films; racial issues often figured into that look and those themes. Both of the films discussed here are pre sented from the points of view of white males in the United States; both show those males undergoing erosions of their presumed cultural privilege. Differences in the ways the films present the peoples and ways of life that the central characters encounter reveal a great deal about changes in American film and culture between the 1940s and the 1990s. The two films categorize their others in radically different ways. Out of the Past adopts a conservative stance that laments the loss of white male power, a loss it associ ates with a powerful woman (a sexual other) as well as with exoticized people of color and with Mexico. The ideological stance of L.A. Confidential, on the contrary, might be described as liberal. Unlike Out of the Past, it explicitly condemns white racism and asso ciates evil not with exoticized peoples from across the border but with the white power structure. Out of the Past deals with a literal border crossing of a white male from the United States to Mexico, which symbolically triggers other crossovers involving gender, race, and class. The film configures those crossovers in terms of loss, as transgressive and emascu lating deviations from a white, rural, middle-class, patriarchal ideal. It constructs the decline of its central male character along explicitly psychoanalytic lines, with emphasis upon male masochism; his pain comes from the degree to which he embraces the exotic. Jeff Bailey (Robert Mitchum) is hired to track down Kathie Moffat, who had wound ed and robbed her New York mobster boyfriend. Bailey pursues her to Mexico where he falls in love with her, uncharacteristically betraying his boss as well as his partner. A cen tral question of the film is why this happens. Bailey had a reputation for integrity and intelligence, the principal reasons for his hiring. His motivation for throwing it all away is never explained beyond his telling us on the sound track that he suddenly fell in love. The film, however, indicates in its symbolic use of the exotic that much more is involved." @default.
• W187557100 created "2016-06-24" @default.
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• W187557100 date "2016-01-01" @default.
• W187557100 modified "2023-09-27" @default.
• W187557100 title "Border Crossings in Out of the Past and LA. Confidential" @default.
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