Early 20th century

Actress Theda Bara, in the film A Fool There Was

Mrs Patrick Campbell, George Bernard Shaw's "second famed platonic love affair", (she published some of his letters)^[11][12] and Philip Burne-Jones's lover and subject of his 1897 painting, The Vampire, inspired Burne-Jones's cousin Rudyard Kipling to write his poem "The Vampire", in the year Dracula was published.^{[13][14][15][16]}

^[17] The poem, which began: "A fool there was ...",^[18] inspired Porter Emerson Browne to write the play, A Fool There Was, becoming a 1909 Broadway production, and leading to the 1915 film, A Fool There Was starring Theda Bara, as "The Vamp".^{[19][20][21][22][23][24][25][26]}

The short poem may have been used in the publicity for the 1915 film. 1910s American slang for femme fatale was vamp, for vampire.^[27][28][21]

Another icon is Margaretha Geertruida Zelle. While working as an exotic dancer, she took the stage name Mata Hari. She was accused of German espionage during World War I and was put to death by a French firing squad. After her death she became the subject of many sensational films and books.

The 1913 film The Vampire by Robert Vignola, contains a "vamp" dance.^[29] Protagonist Alice Hollister was publicised as "the original vampire".^[30][31][32]

Femmes fatales appear in detective fiction, especially in its 'hard-boiled' sub-genre which largely originated with the crime stories of Dashiell Hammett in the 1920s. At the end of that decade, the French-Canadian villainess Marie de Sabrevois gave a contemporary edge to the otherwise historical novels of Kenneth Roberts set during the American Revolution.

Film villainess often appeared foreign, often of Eastern European or Asian ancestry. They were a contrast to the wholesome personas of actresses such as Lillian Gish and Mary Pickford. Notable silent-cinema vamps include Theda Bara, Helen Gardner, Louise Glaum, Valeska Suratt, Musidora, Virginia Pearson, Olga Petrova, Rosemary Theby, Nita Naldi, Pola Negri, Estelle Taylor, Jetta Goudal, and, in early appearances, Myrna Loy.

Post World War II

"Temptress of the Tower of Torture and Sin", cover illustration for the story in the Avon Fantasy Reader, 1950

During the film-noir era of the 1940s and early-1950s, the femme fatale flourished in American cinema. Examples include Brigid O'Shaughnessy, portrayed by Mary Astor, who murders Sam Spade's partner in The Maltese Falcon (1941); manipulative narcissistic daughter Veda (portrayed by Ann Blyth) in Mildred Pierce who exploits her indulgent mother Mildred (portrayed by Joan Crawford) and fatally destroys her mother's remarriage to stepfather Monte Barragon (portrayed by Zachary Scott); Gene Tierney as Ellen Brent Harland in Leave Her to Heaven (1945), and the cabaret singer portrayed by Rita Hayworth in Gilda (1946),^[33] narcissistic wives who manipulate their husbands; Phyllis Dietrichson (Barbara Stanwyck) in Double Indemnity (1944), Ava Gardner in The Killers and Cora (Lana Turner) in The Postman Always Rings Twice, based on novels by Ernest Hemingway and James M. Cain respectively, manipulate men into killing their husbands.^[33] In the Hitchcock film The Paradine Case (1947), Alida Valli's character causes the deaths of two men and the near destruction of another. Another frequently cited example is the character Jane played by Lizabeth Scott in Too Late for Tears (1949); during her quest to keep some dirty money from its rightful recipient and her husband, she uses poison, lies, sexual teasing and a gun to keep men wrapped around her finger. Jane Greer remains notable as a murderous femme fatale using her wiles on Robert Mitchum in Out of the Past (1947). In Hitchcock's 1940 film and Daphne du Maurier's 1938 novel Rebecca, the eponymous femme fatale completely dominates the plot, even though she is already dead and we never see an image of her. Rocky and Bullwinkle's Natasha Fatale, a curvaceous spy, takes her name from the femme fatale stock character.

1980s to the present

The femme fatale has carried on to the present day, in films such as Body Heat (1981) and Prizzi's Honor (1985) – both with Kathleen Turner, Blade Runner (1982) with Sean Young, The Hunger (1983) with Catherine Deneuve, Blue Velvet (1986) with Isabella Rossellini, Vamp (1986) with Grace Jones, Fatal Attraction (1987) with Glenn Close, The Witches (1990) with Anjelica Huston, Basic Instinct (1992) with Sharon Stone, Damage (1992) with Juliette Binoche, The Last Seduction (1994) with Linda Fiorentino, To Die For (1995) with Nicole Kidman, Lost Highway (1997) with Patricia Arquette, Devil in the Flesh (1998) and Jawbreaker (1999), both with Rose McGowan, Cruel Intentions (1999) with Sarah Michelle Gellar, Original Sin (2001) with Angelina Jolie, Femme Fatale (2002) with Rebecca Romijn, and Jennifer's Body (2009) with Megan Fox. In 2013, Tania Raymonde played the title role in Jodi Arias: Dirty Little Secret. In 2014, Eva Green portrayed a femme fatale in Sin City: A Dame to Kill For and Rosamund Pike starred in Gone Girl. In Babylon (2022), Margot Robbie plays character with femme fatale tendencies.^[35]

Academy Award-winning actress Marion Cotillard has frequently played femmes fatales, in such films as A Private Affair (2002), A Very Long Engagement, The Black Box, Inception, Midnight in Paris, The Dark Knight Rises and Macbeth. Nicole Kidman has also played a few femmes fatales in films as To Die For, The Paperboy, Moulin Rouge! and The Northman.

The archetype is also abundantly found in American television. One of the most famous femmes fatales of American television is Sherilyn Fenn's Audrey Horne of the David Lynch cult series Twin Peaks. In the TV series Femme Fatales, actress Tanit Phoenix played Lilith, the host who introduced each episode Rod Serling-style and occasionally appeared within the narrative. In the Netflix TV series Orange Is the New Black, actress Laura Prepon played Alex Vause, a modern femme fatale, who led both men and women to their destruction.

Femmes fatales appear frequently in comic books. Notable examples include Batman's long-time nemesis Catwoman, who first appeared in comics in 1940, and various adversaries of The Spirit, such as P'Gell.

This stock character is also often found in the genres of opera and musical theatre, where she will traditionally have a mezzo, alto or contralto range, opposed to the ingénue's soprano, to symbolize the masculinity and lack of feminine purity. An example is Hélène from Natasha, Pierre and the Great Comet of 1812.