1. Class and Culture in WWII

2. Social and Economic Benefits of Military Service

3. Labor-Management Accord

5. Military-Industrial Complex

6. Labor’s War at Home

7. US oil workers strike in 1945 Wildcat Strikes

8. Strike Wave 1943-1948

9. Smith-Connolly Act, June 1943

10. Decline in Real Wages 1944-45

11. Taft-Hartley Act, 1947

12. Class Politics in the War Film: Bataan (1943)

13. AS BIG AS ITS NAME ! THE STORY OF A PATROL OF 13 HEROES Great Drama of American Heroism The story America will never forget!

14. Idealization of “G.I. Joe”: Class Implications?

15. Murder, My Sweet (Dmytryk, 1944) War film vs. Detective film

16. Raymond Chandler and the Hard-Boiled School of Detective Fiction

17. Chandler also wrote the screenplay for Double Indemnity (1944), a film that has a legitimate claim to founding (or at least codifying) the branch of the crime film known as film noir, which moved the outside-the-law character into the mainstream. Here the audience is asked to sympathize with insurance salesman Walter Neff's attempt to escape the corporate trap through adultery and murder. (Broe, 171)

18. Chandler presents the law not merely as belligerent and sadistic, but, more pointedly, as corrupt. In the Bay City of the novel, Marlowe is beaten by cops who are part of the villainous milieu he investigates. (Broe, 171)

19. Femme fatale: What is her class position? How do gender and class meanings interact in Murder, My Sweet? How is masculinity classed in the film?

20. Molloy versus the Grayles. Where does Marlowe fit in this landscape of class?

22. I'm just a small businessman in a very messy business, but I like to follow through on a sale.

23. Philip Marlowe: It was a nice little front yard. Cozy, okay for the average family. Only you'd need a compass to go to the mailbox. The house was all right, too, but it wasn't as big as Buckingham Palace.

24. Marlowe: It was like waiting to buy a crypt in a mausoleum.

25. Lt. Randall: Let's get it on the record... from the beginning. Philip Marlowe: With Malloy, then. Oh, it was about seven o'clock. Anyway it was dark. Lt. Randall: What were you doing at the office that late? Philip Marlowe: I'm a homing pigeon. I always come back to the stinking coop, no matter how late it is. I'd been out peeking under old Sunday sections for a barber named Dominick whose wife wanted him back - I forget why. Only reason I took the job was because my bank account was trying to crawl under a duck Philip Marlowe: I'm a homing pigeon. I always come back to the stinking coop, no matter how late it is. I'd been out peeking under old Sunday sections for a barber named Dominick whose wife wanted him back - I forget why. Only reason I took the job was because my bank account was trying to crawl under a duck. How does Broe characterize the portrayal of official law enforcement in the novel Farewell My Lovely and its film rendition, Murder My Sweet?

26. Helen Grayle: How does one get to be a private detective? You don't mind my sizing you up a little? Philip Marlowe: Most are ex-cops. I worked for the D.A. Got fired.

27. Lin Marriott – Another Classed Character?

28. Helen Grayle: [after Mr. Grayle takes Marlowe's gun] You know, this'll be the first time I've ever killed anyone I knew so little and liked so well. What's your first name? Philip Marlowe: Philip, for short. Helen Grayle: Philip. Philip Marlowe... named for a duke. You're just a nice mug. I've got a name for a duchess: Mrs. Leuwen Lockridge Grayle. Just a couple of mugs - we could have got along.

30. "I don't know what the game was.... I only know we must have played it wrong. We broke some rule or other along the way and never knew it at the time.... We've lost. That's all I know. We've lost...and now the game is through.” This closing, from … Woolrich's novel, I Married a Dead Man, written in 1948, describes the personal situation of a working-class woman who has assumed the identity of an upper- class counterpart, but who may have had to kill a blackmailer to maintain that identity. It strongly conveys the sense at the end of the post-Taft-Hartley period that this class has lost something important, that their actions have been outlawed for reasons they do not understand. And it evokes a sense of desperation and remorse at the failure of the postwar world to fulfill the expectations of equality prompted by the war. (Broe, 175)