by Mark Osteen
Wieder, Robert, 275n4
Wild Calendar (Block), 211, 284n46
Wilde, Cornel, 137, 175, 182, 183
Wilder, Billy, 13, 49, 132, 254
Williams, Tony, 6, 29
Wilson, Teddy, 156
Wise, Robert, 172, 278–79nn26–27, 288n27
Wolfert, Ira, 234
Wolff, Maritta, 180
Wollheim, Richard, 23
Woman in the Window, The, 36, 106, 116–19, 266n19, 274nn14–18
“woman’s film,” 187, 280n3
women, 17, 89, 103, 112, 165, 185, 199, 217, 280n1
and agency, 197, 199, 280n10
attribution of evil to, 83–84, 195
career, 196, 216
commodification of, 170, 199
and domesticity, 186, 188, 190
and identity, 58–59, 115
and marriage, 59, 60, 186–87, 191, 193, 195, 196, 203, 217
and money, 62, 193
and motherhood, 17, 149, 186, 187–88, 191, 214
as nightclub singers, 179–80, 279n35
as prisoners, 207–10
and sexuality, 169, 197, 199, 201, 203, 214, 217
working, 11, 17, 186, 189–91, 280n2. See also femme noir; gender roles
women filmmakers, 17, 185, 218–19, 261
as producers, 191–92
as screenwriters, 58, 180, 187, 188, 192, 214
women’s portraits. See portraiture films
Woolrich, Cornell, 11, 49, 159, 165, 277n10
The Black Path of Fear, 31
I Married a Dead Man, 61, 62, 64, 268n13, 268n17
World War II, 4, 5, 11, 20, 267n10
writing, 39, 63
Wyler, William, 77, 222–23, 270n7
Young, Collier: and Lupino, 214, 215, 218, 285n52
screenplays by, 145, 211, 272n30
You Only Live Once, 136
Zanuck, Darryl F., 9, 109, 228, 273nn8–9
Zeitgeist theory, 12, 264n11
Zinnemann, Fred, 97, 102, 103, 272n30
Žižek, Slavoj, 118–19
