Below is a provisional master list of what to me are the canonic films noirs, followed by lists of films that are often identified as films noirs
but which I think fall into different categories.
THE FILM NOIR CANON
Out Of the Past
The Killers
His Kind Of Woman
The Dark Corner
The Set-Up
Gun Crazy
Fallen Angel
Angel Face
Touch Of Evil
Detour
The Wrong Man
Criss Cross
The Killing
In A Lonely Place
On Dangerous Ground
Crossfire
Where the Sidewalk Ends
Brute Force
The Sweet Smell Of Success
Night and the City
Thieves Highway
The Lady From Shanghai
14 Hours
The Long Night
Nightmare Alley
Odds Against Tomorrow
Act Of Violence
Crime Wave
They Live By Night
Decoy
The Big Steal
Side Street
Where Danger Lives
Tension
Kansas City Confidential
The Big Combo
Gilda
Road House
HARD-BOILED DETECTIVE THRILLERS
Murder, My Sweet
The Lady In the Lake
I Wake Up Screaming
The Big Sleep
Behind Closed Doors
The Mask Of the Dragon
Vicki
Shadow Of A Doubt
Clash By Night
Leave Her To Heaven
Sunset Boulevard
The Night Of the Hunter
Blonde Ice
Daisy Kenyon
The Bad and the Beautiful
POLICE/AGENCY PROCEDURALS (DOCU-NOIR)
House On 92nd Street
The Racket
Call Northside 777
Panic In the Streets
Border Incident
The Narrow Margin
Mystery Street
Naked City
Arson, Inc.
Loan Shark
Fingerprints Don’t Lie
F. B. I. Girl
Portland Expose
A Bullet For Joey
PSYCHOLOGICAL SUSPENSE THRILLERS
Whirlpool
The Big Clock
House On Telegraph Hill
The Blue Gardenia
Shock
Sudden Fear
Shadow Man
The Stranger
LATE-CYCLE CRIME MELODRAMAS
They Drive By Night
High Sierra
The Asphalt Jungle
Key Largo
Railroaded
Shoot To Kill
The Big Heat
Tough Assignment
Force Of Evil
FILMS OF INTERNATIONAL INTRIGUE
Contraband
Casablanca
To Have and Have Not
Notorious
Macao
I’ll Get You
The Man From Cairo
They Were So Young
Mr. Arkadin (Confidential Report)
SUI GENERIS (NOIRISH BUT NOT LIKE ANY OTHER NOIRS)
Trapped (Schizo-Noir)
Pitfall (Anti-Noir)
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.