Through The Glass DarklyThe Reflection Of Society — страница 6

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the street and her self-assured manner dealing with Uncle Joe support her natural tenacity. At the end of her meeting, she does become less assured, afraid even. Susan does in part rely on her husband, conforming there to stereotype, but she makes her own decisions such as to stay with him and go to a hotel across the border. Many of her decisions that effect her husband turn out to be detrimental and have awful consequences; by remaining she becomes a vulnerability to her husband particularly after what occurs at the hotel. In some respects, it seems that Mrs. Vargas independent ventures are “punished” sending her back to her husband and his care and protection. The independent women seen in the first half of the movie is reduced to sobbing in a jail cell, and later to her

husband’s arms. Tanya in contrast remains alone, the effect Quinlan’s death on her concealed and ultimately true to herself. Susan is compromised, returned to the stereotype of the wife dependent on the husband. This deviation from typical film noir structure is inherent to the deviation into Post-Modernism.As Susan and Tanya illustrated in Touch of Evil, the film noir genre and its Modernist- Post-Modernist transitional concepts provide commentary on women and society. Within the garish lights, unusual angles and extreme characters found within the film noir genre, there is a distorted yet acutely accurate portrayal of what society views as the position of women. Works Cited Blaser, John. No Place for a Woman: The Family in Film Noir. Hassan, Ihab.

“Toward a Concept of Postmodernism.” Natoli & Hutcheon 273. Natoli, Joseph, and Linda Hutcheon. A Postmodern Reader. New York: State University of New York Press, 1993.Touch of Evil. Dir. Orson Welles. With Charlton Heston, Janet Leigh, Marlene Dietrich and Orson Welles. 1958. 120 min.