Stereotypes In Film Noir Movies

The Hays Production Code of 1930 America asserted that “No picture shall be produced that will lower the moral standards of those who see it,” “The sanctity of the institution of marriage and the home shall be upheld,” and “Sex perversion or any inference to it is forbidden.” Such restrictions crippled the film industry’s ability to overtly display homosexuality, a “sexually perverse act.” But film producers increasingly found reasons to use homosexual characters. Film Noir movies were B-rated movies that weren’t considered as high-caliber movies as the A-listers, so they weren’t as heavily monitored. Film Noir directors used this to their full advantage. With greater freedom to experiment, they tried things that A-listers wouldn’t or couldn’t. Noir in its experimental essence fit perfectly with the struggle to figure out a character’s sexual identity. Often by trying to define a character through stereotypes, the confusion was even more glaring. This confusion of character identity and true intentions added to obfuscate the order of the narrative and what was taking place within it. In films such as Laura and Mildred Pierce the character’s unresolved sexual tension, due to emotions/ desires that are constantly thwarted, lead them down

He begins by stalking Laura’s apartment to find out who she is spending time with. He continues to spy on her and her relationships and turns up unexpectedly as if she is his possession that he has come to claim. Then sets out to sabotage Laura and her relationships. He drives Jacobi away with a scathing article he publishes about him. He looks into Shelby’s past and is watchful of his liaisons, so he can inform Laura. He becomes increasingly obsessive, and ultimately his obsession leads him to criminal behavior, killing one of Laura’s models, who he mistakes for Laura. Finally, he attempts to end Laura’s