Resumen

This article aims to analyze “The lady from Shanghai” (Orson Welles, 1947) from different aspects: first, as a film that incorporates most of the elements considered essential for the diegesis and visual iconography of film noir; then, as a narrative that is related to the American historical and sociocultural context of the first half of the 20th century; and, finally, as a production that crossed boundaries of time and space when being honored by Brazilian postmodern cinema of the late 1980s. For this, we used authors such as Borde & Chaumeton (1958), Sklar (1978), Mascarello (2006) and Ortegosa (2010), with emphasis on Vanoye & Goliot-Lété (2009) and Aumont & Marie (2009) with regard to methodological strategies for film analysis.