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Coining a Term There was for some time a tendency on the part of film critics to argue that the label 'noir' could legitimately be applied only to a specific cycle of post-World War Two Hollywood films, the limits of which were most often fixed as 1941 (the year of John Huston's film of The Maltese Falcon) and 1958 (with Welles' Touch of Evil marking the end of the cycle). In recent years, however, there has been increasing acceptance of a much more flexible use of the term - in particular, of a chronological broadening of the term, both to draw in pre-World War Two examples and, more importantly, to expand the category sufficiently to include the burgeoning phenomenon of 'neo-noir', which was already beginning to appear at the time that American critics first adopted the French label. Silver and Ward, for example, in their Film Noir: An Encyclopedic Reference to...

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