Out of noir: Seberg–Preminger–Godard–Garrel

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Abstract

The iconic power of Jean Seberg in A bout de souffle is well known but it is just one role in a linked series that charts the passage of the femme fatale out of her archetypal position in American film noir into a new cinema of intimacy. Here the noir fascination with wealth and fortune is replaced by indifference or rejection, while archetype is transformed into enigmatic complexity. In the works of Preminger, Godard, Rossen and Garrel the figure and face of Seberg constitute a key iconic strand in the broader malaise in cultural modernity.

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