Introduction: Mini Dossier on The Phantom Lady


We are proud to present four different perspectives on one landmark film, Phantom Lady (Robert Siodmak, USA, 1944). ‘If you could drag yourself away from the brightly colourful world of Meet Me St. Louis and the soothing sound of Judy Garland wailing her heart out serenading a few suspiciously perfect snowmen, you might stumble into a significantly darker auditorium’ says Daedyn Appleton in The Elusive Phantom Lady. Cassandra Qiu in a ‘A Visual Palace of Light and Shadow’ demonstrates how, ‘the film is considered as a landmark in the history of film noir’. Lisa Mosse in Phantom Lady, Pulp and Emigrés develops this and shows that one of the reasons why is the film’s debt to German Expressionism. Lastly, Albert Hill-Eldridge argues that there are holes in the plot whilst pointing out the importance of the detective in the film being a woman.


Editors: Alice Hone and José Arroyo

Copy Editors: Anna Amarawansa, Daedyn Appleton, Alexander Archbold-Jones, Natasha Bowen, Joe Curry, Lawrence Deighan, Bertie Hill-Eldridge, Alice Hone,Amira Mitchell, Lisa Mosse, Lauren Nwenwu, Cassandra Qiu

Images: Lisa Mosse, Cassandra Qiu, José Arroyo