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The statement says the diocese was also looking into the potential misuse of church funds when Csaszar served at the St.

Similarly, while the private eye and the femme fatale are character types conventionally identified with noir, the majority of film noirs feature neither; so there is no character basis for genre designation as with the gangster film.

Expressionism-orientated filmmakers had free stylistic rein in Universal horror pictures such as Dracula (1931), The Mummy (1932)—the former photographed and the latter directed by the Berlin-trained Karl Freund—and The Black Cat (1934), directed by Austrian émigré Edgar G. The Universal horror film that comes closest to noir, in story and sensibility is The Invisible Man (1933), directed by Englishman James Whale and photographed by American Arthur Edeson.

Edeson later photographed The Maltese Falcon (1941), widely regarded as the first major film noir of the classic era.

"We'd be oversimplifying things in calling film noir oneiric, strange, erotic, ambivalent, and cruel […]"—this set of attributes constitutes the first of many attempts to define film noir made by French critics Raymond Borde and Étienne Chaumeton in their 1955 book Panorama du film noir américain 1941–1953 (A Panorama of American Film Noir), the original and seminal extended treatment of the subject.

The authors' caveats and repeated efforts at alternative definition have been echoed in subsequent scholarship: in the more than five decades since, there have been innumerable further attempts at definition, yet in the words of cinema historian Mark Bould, film noir remains an "elusive phenomenon […] always just out of reach".

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