The Femme Fatale

These essays trace thefemme fataleacross literature, visual culture and cinema, exploring the ways in which fatal femininity has been imagined in different cultural contexts and historical epochs, and moving from mythical women such as Eve, Medusa and the Sirens via historical figures such as Mata Hari to fatal women in contemporary cinema.

HELEN HANSON is Lecturer in Film within the School of Arts, Languages and Literature at the University of Exeter, UK. She is the author of Hollywood Heroines: Women in Film Noir and the Female Gothic Film (2007), and has contributed essays to The Cambridge Companion to Film Music, The Daphne Du Maurier Companion and The Body's Perilous Pleasures.

CATHERINE O'RAWE is Senior Lecturer in the Department of Italian at the University of Bristol, UK. She is the author of Authorial Echoes: Textuality and Self-Plagiarism in the Narrative of Luigi Pirandello (2005), and has contributed essays to World Cinema's Dialogues with Hollywood and Il cinema e Pirandello.

List of Illustrations	p. ix
Acknowledgements	p. x
Notes on Contributors	p. xi
Introduction: 'Cherchez la femme'	p. 1
Ecoutez la Femme: Hear/Here Difference	p. 9
Literary and Visual Archetypes
The Mother of All Femmes Fatales: Eve as Temptress in Genesis 3	p. 35
Challenging the Stereotype: The Femme Fatale in Fin-de-Siècle Art Early Cinema	p. 46
Silent Divas: The Femmes Fatales of the Italian Cinema Muto	p. 60
'You'll Be the Death of Me': Mata Hari and the Myth of the Femme Fatale	p. 72
Film Stars
Diabolically Clever-Couzot's French Noir Les Diaboliques (1954)	p. 89
Fatal Femininity in Post-War British Film: Investigating the British Femme	p. 98
'Put the Blame on...Mei': Zhang Ziyi and the Politics of Global Stardom	p. 113
Gender, Genre and Stardom: Fatality in Italian Neorealist Cinema	p. 127
Femmes Fatales in European and World Cinemas
The Femme Fatale of Spanish Retro Noir: The Recuperation of a Repressed Voice	p. 145
Chiaroscuro: The Half-Glimpsed Femme Fatale of Italian Film Noir	p. 157
A Myth Is Born: The Femme Fatale in the Golden Age of Mexican Cinema	p. 170
Hollywood
'I Can't Tell Anymore Whether You're Lying': Double Indemnity, Human Desire and the Narratology of Femmes Fatales	p. 187
'Well, Are't We Ambitious', or 'You've Made up Your Mind I'm Guilty': Reading Women as Wicked in American Film Noir	p. 199
The Big Seduction: Feminist Film Criticism and the Femme Fatale	p. 214
Index	p. 229
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