I doubt you will welcome this comment, but here goes.

I don't see the point of your classification system: it has meaning for you only and no film can ever be categorised to such a degree.

For example, there is wide agreement that Wilder's Double Indemnity is an elemental film noir, yet you describe it as a "domestic noir"? Neff is an unmarried loner and Phyllis an amoral gold-digger whose marriage was a sham from day one, so how does domesticity gone bad come into it? There is "no moral confusion" or "existential dread": both protagonists are motivated by greed and each has no scruples when it comes to making sure that only one of them makes it to the end of the line. Marriage has nothing to do with the dramatic imperative of the plot. Remember Phyllis murdered Dietrichsen's first wife, so she could marry him for his money. Neff was ready to be seduced and she knew it: this is the essence of the noir paradigm of the femme fatale, which has little to do, if it ever to did, with the role of woman in WW2 and its aftermath. Remember, the great noir novels by Hammett and Cain, were written before WW2.

I very much welcome your comment! It's an example of just the sort of conversation I hope my list provokes.

I'll be writing a lengthly reply to it in a regular post soon.