The fact that Nancy M. West finds herself focusing so heavily on the visual in her research and teaching may at first seem to be “a sort of a curious thing,” but for the associate professor of English this fascination for the visual extends all the way back to a childhood devoid of photographs. “I love thinking about what photography means to people. Having grown up with very few photographs in my household, I’ve always been drawn to them,” she admits. It was no surprise, therefore, that West stumbled upon her first book project while scrounging through the bargain bin of an antique store: “I came across all of these old Kodak ads from the turn of the century, and I thought they were amazing. The images were just breathtakingly beautiful. The captions were unlike those we see now in ads. They were much more elaborate, much more descriptive. They addressed the consumer in very interesting, clever ways, and I just fell in love with them.” And at that serendipitous moment, the idea for Kodak and the Lens of Nostalgia (2000) was conceived.
Asked to recommend films from this era “where you have journalists exhibiting all the characteristics of gangsters,” the first two films West mentions are The Picture Snatcher (1933) and Blessed Event (1932), which were produced just as the gangster film genre seemed to be disappearing from the Hollywood screen, owing to the Production Code’s restrictions. But Hollywood—in its need to continue profiting from the gangster’s popularity—found ways to “get around the censors,” explains West. “All of the gangster’s characteristics (his penchant for violence, his street smarts, his flashy style, his witty repartee) are put into the figure of the newspaper reporter,” who rarely works for a legitimate newspaper, West adds, but for a tabloid newspaper—“So, they get to have it both ways!” In the area of noir documentaries, where filmmakers experimented by combining film noir style with a documentary style, West recommends Naked City (1948).