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The term film noir was coined by French critics for 1940s-50s American films that shared a dark sensibility and a dark lighting style, such as Double Indemnity (1944), Out of the Past (1947), and The Postman Always Rings Twice (1946). Many theorists related the common noir attributes and aesthetic elements to a post war society characterised by insecurity about gender roles, the economy, changing definitions of race, and nuclear technology. One of the cultural problems the term genre attempts to address is the gender question. The familiarity of the femme fatale character across film noir is the predominant cause for discussion amongst feminist theorists. Feminist theorists became, and still remain, interested in the woman?s portrayal in noir because the majority of quintessential film noirs were manufactured just after World War II when a massive surge in standing occurred within society for women. All the normal stereotypes and roles were being either broken down or at the very least questioned. The quintessential noir woman, the femme fatale represents the most direct attack on traditional womanhood and the nuclear family. She refuses to play the role of devoted wife and loving mother that mainstream society generates, dictates and prescribes for women. It is understood that the majority of feminist film theorists? objections lie within how differently the female image is treated in film from the male image. The image of the femme fatale in film noir finally portrayed an image of a strong, independent woman who could easily manipulate the men around her to get what she wanted. However, feminist critics appreciate that the immortality of the sensational femme fatale characters in film noir ultimately assists their argument in the battle for equal rights because women are shown to subvert their male counterparts.

The females in film noir were one of two types - dutiful, reliable, trustworthy and loving women; or femme fatales - mysterious,...

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