(Limelight) Detours and Lost Highways begins with the Orson Welles film, Touch of Evil (1958), which featured Welles both behind and in front of the camera That movie is often cited as the end of the line, noirs rococo tombstone the film after which noir could no longer be made, or at least could no longer be made in the same way It is my belief, Hirsch writes, that neonoir does exist and that noir is entitled to full generic status Over the past fort
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