An account of how popular films in America, just after the close of the Second World War, played out America’s mood at that crucial time. This book is also a revisionist challenge to the scholarly understanding of this mood, has tended to be seen as characterized by an abiding pessimism most clearly manifested in the films noir of the period.

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The term ‘film noir’ still conjures images of a uniquely American malaise: hard-boiled detectives, fatal women, and the shadowy hells of urban life. This book examines how film noir crosses national boundaries, speaks to diverse international audiences, and dramatizes local crimes and the crises of local spaces in the face of global phenomena.

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