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America's embrace of film noir came swift and furiously, the popularity of noir exists even in contemporary cinema. I would like to explore the implications as to why film noir has become one of the truest forms of American Cinema, perhaps even exceeding the western, as well as the reasoning as to why the American people have exalted a type of genre which is known primarily for its ties with human vice and depravity. In this investigation of the populations intrigue with noir I will address instances in select noir films that illustrate specific moments of the philosophical frame works of Michel Foucault. Through the application of these frameworks of thought I believe evidence can be found linking Film noir to primal human urges and desires that were initially discussed within the writings of these two philosophers. Throughout the evolution of cinema over the last 70 years, America has seen an abundance of reconditioned plots and outlines of classically structured stories. Film noir does not escape this refurbishment. With the collapse of the original Hollywood studio system as well as the infamous black list era, the ideology of Film making in America shifted enormously. This shift allowed cinema to reach into the postmodernist conditioning that had already been applied to literature and stage craft. The shift into postmodernism allowed for extraordinarily interesting developments in the genre of Film noir. Perhaps the most noted of these developments was that noir was no longer just a genre; it had become an actual ideology for telling a cinematic story. This is exemplified with the emergence of noir sensibilities throughout multiple contrasting film genres. This is illustrated throughout the arrival of such categories as the Science Fiction Noir, and most recently the genre of Neo-Noir. Neo-Noir is also home to the films that have attempted to satirize or parody the initial sensibilities of the original classic noir genre. The exploration of these new evolutions of noir constructed genres is of vast importance of understanding America's embrace of Film noir as a whole.

The goal of this MA thesis is to point out the legitimacy and specificity of voice-over narration as an expressive device in film. Although it is generally underestimated a priori, voice-over has peculiar qualities which, when put to good use, contribute to establish the intended tone of the film. I document the distinctiveness of this narrative device on analyses of films by Woody Allen, Terrence Malick, and the Coen brothers, who are well-known for incorporating voice-over in their narrative styles.

L’intertextualité filmique de l’oeuvre des frères Coen permet un recyclage des formules génériques et stylistiques qui font partie des traditions du cinéma. Les frères Coen empruntent des techniques et des thèmes tant au cinéma de l’époque des studios qu’à des écrivains du XXe siècle comme Raymond Chandler ou James Joyce. Une étude narratologique des procédes des frères Coen apportera une appréciation de leursinnovations dans la mise en scène. Leurs réécritures des schémas du passé donnent à ces films des ancrages dans la contemporanéité. Cette esthétique de réécriture sera analysée dans le contexte de l’histoire des idées et dans le contexte de la civilisation américaine contemporaine. Une mise en rapport avec des metteurs en scène de l’histoire du cinéma, comme Fritz Lang et Alfred Hitchcock, permettra d’évaluer les effets de leurs films sur le spectateur. / Film intertextuality in the Coen brothers’ films allows generic formulas and styles to be reformulated, in a reworking of cinema traditions. The Coen brothers borrow techniques and themes from the era of the Hollywood studio system as well as those of writers of the twentieth century like Raymond Chandler or James Joyce. A study of thenarratology of the Coen brothers’ oeuvre allows readers to appreciate their innovations in film direction. Their rewriting of schemas of the past is analyzed in the context of the history of ideas and of contemporary American civilization. In comparing their work to that of other directors in the history of cinema, such as Fritz Lang and Alfred Hitchcock,the effects of intertextuality on the spectator will be evaluated.