A few questions I have:
- What stylistic accommodation did makers allow in shooting noir generic material in color? How did they distinguish these productions from more high-key (metaphorically speaking) material?
- Was Fox the locus of these productions, or did other studios get into the act?
- How did studios understand the generic development of these films?
At the very least, these questions provide me a reminder of how much I need to expand my own historical knowledge of the 1950s cinema. And, too, I suspect that there remain plenty of assumptions within the field about how a period that everyone thinks they already know actually was more complex than we sometimes allow.
* Marc Vernet's essay "Film Noir on the Edge of Doom" is a good start.