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A more analogous case is that of the screwball comedy, widely accepted by film historians as constituting a " genre ": the screwball is defined not by a fundamental attribute, but by a general disposition and a group of elements, some — but rarely and perhaps never all — of which are found in each of the genre's films.
However, because of the diversity of noir ( much greater than that of the screwball comedy ), certain scholars in the field, such as film historian Thomas Schatz, treat it as not a genre but a " style ".
Alain Silver, the most widely published American critic specializing in film noir studies, refers to film noir as a " cycle " and a " phenomenon ", even as he argues that it has — like certain genres — a consistent set of visual and thematic codes.
Other critics treat film noir as a " mood ", characterize it as a " series ", or simply address a chosen set of films they regard as belonging to the noir " canon ".
There is no consensus on the matter.

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