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  1. A femme fatale (/ ˌ f æ m f ə ˈ t ɑː l / or / ˌ f ɛ m f ə ˈ t ɑː l /; French: , literally "lethal woman"), is a prevalent and indicating theme to the style of film noir. The main archetypes of female roles in film noir can be divided into two categories: the girl-next-door and the femme fatale.

  2. Femme Fatale is a 2002 erotic thriller film written and directed by Brian De Palma. The film stars Antonio Banderas and Rebecca Romijn-Stamos. It was screened out of competition at the 2002 Cannes Film Festival. The film was a box office flop, but has subsequently become a cult film. Warner Bros. has included the film in the catalogue of Warner ...

    • 30 April 2002 (France), 6 November 2002 (United States), 27 March 2003 (Germany)
    • Tarak Ben Ammar, Marina Gefter
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  4. en.wikipedia.org › wiki › Film_noirFilm noir - Wikipedia

    The primary literary influence on film noir was the hardboiled school of American detective and crime fiction, led in its early years by such writers as Dashiell Hammett (whose first novel, Red Harvest, was published in 1929) and James M. Cain (whose The Postman Always Rings Twice appeared five years later), and popularized in pulp magazines such as Black Mask.

  5. en.wikipedia.org › wiki › Femme_FataleFemme Fatale - Wikipedia

    • Ancient Archetypes
    • Early Western Culture to The 19th Century
    • Early 20Th-Century
    • Post WW II

    The femme fatale archetype exists in the culture, folklore and myths of many cultures. Ancient mythical or legendary examples include Lilith, Circe, Medea, Clytemnestra, Lesbia, Tamamo no Mae and Visha Kanyas. Historical examples from Classical times include Cleopatra and Messalina, as well as the Biblical figures Delilah, Jezebel, and Salome. An example from Chinese literature and traditional history is Daji.

    The femme fatale was a common figure in the European Middle Ages, often portraying the dangers of unbridled female sexuality. The pre-medieval inherited Biblical figure of Eve offers an example, as does the wicked, seductive enchantress typified in Morgan le Fay. The Queen of the Night in Mozart's The Magic Flute shows her more muted presence during the Age of Enlightenment The femme fatale flourished in the Romantic period in the works of John Keats, notably "La Belle Dame sans Merci" and "Lamia". Along with them, there rose the gothic novel The Monk featuring Matilda, a very powerful femme fatale. This led to her appearing in the work of Edgar Allan Poe, and as the vampire, notably in Carmilla and Brides of Dracula. The Monk was greatly admired by the Marquis de Sade, for whom the femme fatale symbolised not evil, but all the best qualities of women; his novel Juliette is perhaps the earliest wherein the femme fatale triumphs. Pre-Raphaelitepainters frequently used the classic per...

    Mrs Patrick Campbell, George Bernard Shaw's "second famed platonic love affair", (she published some of his letters) and Philip Burne-Jones's lover and subject of his 1897 painting, The Vampire, inspired Burne-Jones's cousin Rudyard Kipling to write his poem "The Vampire". The poem, which began: "A fool there was...", inspired Porter Emerson Browne to write the play, A Fool There Was, becoming a 1909 Broadway production, and leading to the 1915 film, A Fool There Was starring Theda Bara, as "The Vamp". The short poem may have been used in the publicity for the the 1915 film.[citation needed] 1910s American slang for femme fatale was vamp, for vampire. Another icon is Margaretha Geertruida Zelle. While working as an exotic dancer, she took the stage name Mata Hari. She was accused of German espionage and was put to death by a French firing squad. After her death she became the subject of many sensational films and books. The 1913 film The Vampire by Robert Vignola, contains a "vamp"...

    During the film-noir era of the 1940s and early-1950s, the femme fatale flourished in American cinema. Examples include Brigid O'Shaughnessy, portrayed by Mary Astor, who murders Sam Spade's partner in The Maltese Falcon (1941); manipulative narcissistic daughter Veda (portrayed by Ann Blyth) in Mildred Pierce who exploits her indulgent mother Mildred (portrayed by Joan Crawford) and fatally destroys her mother's remarriage to stepfather Monte Barragon (portrayed by Zachary Scott); Gene Tierney as Ellen Brent Harland in Leave Her to Heaven (1945), and the cabaret singer portrayed by Rita Hayworth in Gilda (1946), narcissistic wives who manipulate their husbands; Phyllis Dietrichson (Barbara Stanwyck) in Double Indemnity (1944), Ava Gardner in The Killers and Cora (Lana Turner) in The Postman Always Rings Twice, based on novels by Ernest Hemingway and James M. Cainrespectively, manipulate men into killing their husbands. In the Hitchcock film The Paradine Case (1947), Alida Valli's c...

    • Histoire
    • L'homme Fatal
    • Annexes

    Mythologie

    L'archétype de la femme fatale existe dans les mythes et le folklore de nombreuses cultures à tous les âges[1]. Les premiers exemples sont Ishtar, la déesse sumérienne, et Ève, Dalila, et Salomé dans la Bible judéo-chrétienne. Dans la littérature de la Grèce antique, la femme fatale est incarnée par Aphrodite, la sirène, le Sphinx, Scylla, Circé, Lamia, Hélène de Troie, et Clytemnestre. Puis vient la figure historique Cléopâtre, reine d'Égypte, avec sa capacité à séduire les hommes puissants...

    Des récits médiévaux au XIXe siècle

    Au Moyen Âge, l'idée de la dangerosité de la séduction féminine, originellement incarnée par Ève, était courante dans les récits médiévaux sous les traits de l'enchanteresse séduisante et maléfique, comme la Fée Morgane. Une autre icône du glamour, de la séduction et de l'immoralité est Mata Hari, 1876 - 1917, une danseuse orientale qui fut accusée d'espionnage pour l'Allemagne et fusillée par la France. Sa légende naquit aussitôt, faisant d'elle l'héroïne de récits apocryphes. Elle fut maint...

    Dans l'imagerie du XXe siècle

    La femme fatale a été représentée comme une vampire dont les charmes consomment la virilité et l'esprit d'indépendance de leurs amants, ne laissant que leurs enveloppes charnelles vides. Rudyard Kipling fut inspiré par la peinture d'une vampire de Philip Burne-Jones, une image typique de l'époque (1897), pour écrire son poème The Vampire. Le poème inspiré le film éponyme de Robert G. Vignola en 1913, considéré comme le premier film reconnu sur la femme fatale[2],[3]. La protagoniste Alice Hol...

    Les hommes aux qualités similaires pourraient être Don Juan, Heathcliff dans Les Hauts de Hurlevent, la plupart des héros des livres de Lord Byron, aussi bien que les personnages suivants : Billy Budd, le Comte Dracula, Tadzio dans La Mort à Venise, Harthouse dans Les Temps difficiles de Charles Dickens, Georges Querelle dans Querelle de Brest de Jean Genet, James Bond de Ian Fleming, Tom Ripley dans les romans de Patricia Highsmith[9], ainsi que Georges Duroy dans le roman Bel-Ami (1885) de Guy de Maupassant.

    Articles connexes

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    Liens externes

    1. La femme fatale : essai de caractérisation d’une figure symboliste[archive], par Hélène Heyraud, sur adhoc.hypotheses.org 1. Portail de la sexualité et de la sexologie 2. Portail des femmes et du féminisme 3. Portail de la culture

  6. The Woman in the Window (1944) is a film noir directed by Fritz Lang that tells the story of psychology professor Richard Wanley (Edward G. Robinson) who meets and becomes enamored with a young femme fatale. Based on J. H. Wallis' novel Once Off Guard, the story features two surprise twists at the end.

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