Noir fiction and film noir in Et on tuera tous les affreux (1948) of Vernon Sullivan, the alter negro of Boris Vian, or a questioning of the beauty of Hollywood

In this article we propose the study of a curious process of generic combination, noir genre and dystopian science fiction, and an intermediate phenomenon of literature and cinema through the analysis of Boris Vian's pastiches under the pseudonym Vernon Sullivan. We focus, in particular, on a Hollywoodian subgenre of criticism of seriality and artificial perfection. For this we expose an original approach to the novel Et on tuera tous les affreux (1948) in relation to three North American films cataloged as neo-noir-two of them adaptations of novels by Ellroy-in order to study the representation of the fenune fatale in a hypermasculinized context from an aesthetic, stylistic and sociological point of view.