...Intro to Film 10/25/11 Film Noir Film Noir is a term first used by some French critics to describe a group of American films made during and after World War II. The term Film Noir means black or dark cinema. Film noir is the classic period saying to have occurred between 1941 and 1958, beginning with John Huston’s The Maltese Falcon and ending with Orson Welle’s Touch of Evil. Film Noir is identified by its constant opposition of light and shadow, oblique camera angles, and the ways characters are placed in unconventional or awkward positions with particular shots. (Conrad, 2006, pp1-8) Themes that characterize Film Noir include inversions of traditional values, the feeling of alienation, paranoia, presence of crime and violence, and the feelings of despair, fear, mistrust and loss of innocence. (Conrad, 2006, pp1-8) Many argue on whether or not film noir is a genre. Foster Hirsch says that a film genre is “determined by conventions or narrative structure, characterization, theme, and visual design.” According to this definition, Hirsch felt film noir was in fact a genre because of the consistent tone and the story telling and visual conventions running through the films of the classic noir period. Andrew Spicer denied film noir can be defined as a genre since the expression of film noir is “a discursive critical construction that has evolved over time.” (Conrad, 2006, pp10) Nonetheless, as a crucial film movement, film noir consisted of films tending to have...
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...During the Great Depression and shortly prior to the outbreak of World War II, many of the films produced were “propaganda” type films. Each one designed to cheer the American people’s dismal outlook during the 30s and 40s. However, with World War II and post-war attitudes, these films did little to help the cynicism of the American people. They were more interested in films that were genuine, depicting the harsh view of society from the perspective of everyday people. Nino Frank explains what they were looking for, “a third dimension: a touch of substance, a touch of depth, the logic of cinema definitively replaced by the logic of truth.”1 Films in this time period were usually adapted from hard-boiled fictions of the 1930s. These films dealt with the uniquely American experiences of despair and alienation as they adjusted to new social and political realities. Films in the early 1940s and late 1950s were, at the time, considered crime melodramas but are now known as “Film Noir,” or “black cinema.” Directors were not intentionally trying to create films that fit into a specific category, but instead were creating films that reflected much of the sentiment of the time. In most literature, there are many debates about what constitutes film noir. I hope to define the genre through historical background, cinematic conventions, and characteristics that categorize a film noir; as well as a progression of the genre into today’s movies. Although Technicolor began in the...
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...Film Noir A Culture of Seductive Crime Somewhere along a dark alley in the shattered shadowy streets of Hollywood a part of history lies in the tragically neglected culture known as “Film Noir.” An introduction similar to any number of introductions found in any Noir themed novel or film’s initial dawning. Aristocrat or plebeian does not come into account in this culture; those who are iconic to the startup have come from many different backgrounds and even belong to many different cultures. Film Noir culture is undoubtedly a culture that can share its members concurrently with indiscriminate amounts of other cultures. Film Noir is more than just pessimistic crime dramas starring cynical men and dangerous “femme fatale” siren like women. It is a style and an American culture. With the stock market crash on October 29, 1929 came the great depression. From this time leading up to WWII the current benign dramas unquestionably left more to be desired. Their lackluster presentations were turning off audiences who where seeing so much more turmoil and danger in the world around them, leaving them to find the films boring and detached from any sense of connectivity. With this came the onset of Film Noir. In “Hollywood Genres and Post-War America: Masculinity, Family and Nation in Popular Movies and Film Noir” Mike Chopra-Gant writes, “Noir is seen as more than a trend in film production; it is regarded as emblematic not only of the cinematic culture, but also as the tone of...
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...Many people say that “Chinatown” brought back Film Noir. This is a genre that usually describes crime dramas and mystery thrillers, but the direct translation is, “dark film” (Encyclopedia Britannica, 2014). The original noir films were mostly in the 1940s and 1950s. This style not only had a mysterious feel, but usually darker lighting and a mysterious protagonist who has a troubled past. This genre lost popularity for some time, but then came back as neo-noir. Being that Chinatown was one of the films that brought noir back, it is one of the first neo-noir films. Gitties still embodies a typical noir character, with more of a new school feel. He is tough, gritty, sarcastic, and slightly obsessed with solving the crime. The genre has changed...
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...Reservoir Dogs, directed by Quentin Tarantino, is one of the renowned film noirs in Hollywood cinema culture. The film noir is a French meaning a genre about time (Miyao Lecture 3). There are several characteristics that feature film noir: for example, almost all noir films are crime and action films and revolve around two overarching themes - the irretrievable-ness of time and the emphasis on trust and betrayal (Miyao Lecture 3). Moreover, film noir has its own cinematic techniques to distinguish itself from other genre films, such as flashbacks to manipulate the time to alter the story order. The film Reservoir Dogs does a great work in manipulating time and space as Tarantino even stated in his interview that he wanted to introduce each...
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...Film noir, which literally translates as ‘black film,’ was a term which was used by a French film critic Nino Frank in 1946 to describe what the film audiences of France where seeing in their theatres When World War II had ended and the Nazi regime had collapsed in 1945. The French audience where greeted with a back log of American films. These crime and detective films where noticed to be darker, more downbeat and moodier than the pervious post war films that these audiences watched. Film noir developed during and shortly after World War II. It took advantage of the post war feeling of anxiety, fear, suspicion and pessimism that the American nation where facing a point that is stated in Maria Pramaggiore and Tom Wallis’ book, ‘Film - A Critical Introduction,’ “…a specific historical circumstance: the suppressed cynicism that followed America’s...
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...THE PLAGUE Essay Proposal Film noir is a cinematic term used to describe heavily stylized Hollywood crime dramas emphasizing on cynical attitudes, sexual motivations and recurring dark themes. However, film noir is not considered a genre and it is not defined by conventions of setting and conflict but rather by the subtle aspects and details of tone and mood. The two films being compared are Out of the Past and Sin City. Out of the Past was filmed in 1947 and directed by Jacques Tourneur. It is a superb example of film noir due to its convoluted dreamlike storyline and the impressive chiaroscuro cinematography. It has since, been added to the United States National Film Registry as being deemed “culturally, historically or aesthetically significant” in 1991. Sin City on the other hand is a 2005 neo-noir film produced and directed by Frank Miller and Robert Rodriguez. The former being an actual film from Hollywood’s most celebrated but relatively unknown era in filmography, differs vastly from that of Sin City but at the same time drawing similarities in comparison generated from the various aspects of film noir. This will be further analyzed by comparing the two films to what film noir is comprised of. Looking back into the history of film noir and why it was deemed so important, there were four catalytic elements that could define the technique and the distinct trait of noir drew from them. War and post war disillusionments, post war realism, the German influence...
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...through half-closed venetian blinds--these are the visual elements we typically associate with film noir. More often, however, the genre can be defined thematically, usually relating to the protagonist’s futile efforts against forces out of their control (Defining Film Noir). The world portrayed by these films does not make much sense and there is no apparent rhyme or reason behind the inevitable twists and turns. This atmosphere of uncertainty is intensified by the use of a restricted point of view. We experience the narrative through the eyes and voice of the protagonist, rarely surpassing him in awareness. The protagonist is often motivated by a sense of justice that goes...
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...what made them so special. Prior to World War II American films were about singing, dancing and happy endings. The occupation in Europe changed all that. Many European directors, artists and actors escaped to America and brought their artistic visions and hellish nightmares with them. The movies they made provided them with a creative outlet. They showed a dark side to humanity in which American soldiers returning from war could relate to. It helped them see that they were not the only ones with problems and that life was not always easy. It helped normalize what they were feeling and perhaps even helped them adjust to coming back home. Film Noir films were a complete change to what the American public was familiar with. They exposed the audience to something new and different. These movies brought an “edge and roughness” to life as they knew it. Most of all they provided new techniques to film making. The director’s innovative use of lighting and cinematography were never seen before. The audience was drawn in to focus on the main characters which I think made the scene more intimate. The actors had to up there performances showcasing their acting ability. Music played a big role in these movies as well. If you closed your eyes you could hear the tension and emotion of the scene through the musical score. It helped set the mood and kept you engrossed in the film. Many of the elements used in Film Noir movies are still in use today especially the lighting and camera...
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...Classic noir films reinforce the myth of the private eye; a hard-boiled detective, able to restore order, solve the crime, and ensure justice prevails. Chinatown challenges this myth, reversing genre and stylistic conventions through the protagonist Jake Gittes, a private eye unable to control the crimes his sleuthing unveils. Gittes dresses stylishly in crisp white suits, differing from the trademark trench coat and fedora of his stylistic predecessors, and enters the film with an air of confidence. However, Gittes’ plush chambers and immaculate suit mask an essential vulgarity, betrayed Gittes pleasure in the racist joke about Chinese love-making (Spicer 2001, p.139). Although Gittes is a competent detective, he is forced to confront his own limitations, failing to protect the victims of the narrative and watching helplessly as the criminal remains at large. “As saviour and restorer of the moral order, he is a complete washout, a genre first” (Hirsch 1999, p.151). However, while less capable and...
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...Film Noir and Romance: It’s No Fairy Tale Baby Film Noir may not seem like a very romantic subject considering how many of the couples in the films are eventually lead into their death or a prison term. There are some romantic aspects to these type of cinema. Even if a couple does have a tragic end, there is always some sort of romance in the middle. It could be lust or love, but it is usually there. While all Film Noir never ends as fairy tale, an audience can look at most of the films and see how love, or lust, can drive people to do despicable acts of crime. Before describing how romance and the many varying types of love appear in Film Noir, it is important to understand the different gender roles each character plays. The male protagonist paired with a femme fatale is the usual leading roles in a Film Noir, but that isn’t a hard set rule. Men can play the male victim, damaged men, a private eye, a psychopath, or a homme fatal, (Spicer 85). Women can also play a variety of roles such as the nurturer, the good-bad girl, the female victim, or a femme fatale, (Spicer 90). Male victims can be a protagonist who just gets trapped in the web of lies weaved by a beautiful woman, a femme fatale. The damaged man is usually a veteran who has a hard time adjusting to society after war or a police officer who loses control. After seeing so much violence it is hard for some men to see the world as a happy place. These men are usually paired with a nurturing female character. A private...
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...The film "The Usual Suspects" (Bryan Singer, U.S.A., 1995) has a plot that circles around and around before finally hitting the mark. It is hidden under deceit, lies, and misgivings. Because everything is told from the perspective of one person, or in the first person, nothing is clear. Could that person be lying? Or is it that he is just the mere pawn of a darker and more evil force, without even realizing it. Maybe he is just giving the facts. These shades of gray are very successful in manipulating the audience's point of view. Of course all of this is accomplished through the exceptional cinematography contained in "The Usual Suspects". One of the main objectives of a film is to never let the audience escape, to never allow them to realize that it is only a movie. By way of devices such as editing, filming style, and even the musical score this film is able to do exactly that right up until the last minute with an ending that nothing could prepare you for. By examining these techniques in detail we can gain an even greater appreciation, not only for the film, but for the elements involved as well. The film begins, "last night". Roger "Verbal" Kint (Kevin Spacey) has been arrested for being in the location of a massive explosion on a Hungarian boat. Agent Dave Kujan (Chazz Palminteri) wants to get the truth out of Kint, but Kint has already posted bail. In about two hours, he will be a free man. Kujan has Kint brought into his office where he asks Verbal to retell the story...
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...THE NEO-NOIR '90S Contents 1. Ten Best Noir Rentals Listen Pause Loading | Download MP3 Help | | | Section: THE ARTS 'L.A. Confidential' is one sign that this is a decade of danger, at least in our fantasies. It's stylish to be sultry and shady. AFTER WORLD WAR II French critics became aware of a new mood gloomy, doomy and dangerous--in Hollywood movies, They coined a term, film noir, to describe these crime-infested, shadow-draped, black-and-white movies. What they couldn't have foreseen was how a fatalistic cinematic style would turn, in the pre-millennium '90, into a lifestyle. Noir is decidedly back--in the clothes we wear, the music we hear, the ads we read and in the most critically acclaimed movie of the year, "L.A. Confidential." Pottery Barn is offering a black "Dial for Murder" rotary phone. The new lounge-lizard culture, flaunting such retro poisons as martinis and cigarettes, invites us to glamorously rebel against an age of abstinence and political correctness. The folks at Camel advertise their beleaguered product with an image of a femme fatale beckoning us to danger. Tom Ford's new Gucci collection is noir-inspired down to its '40s-era monkey-fur jacket--and even Ralph Lauren is unleashing metal spike heels this season. Not coincidentally, Carly Simon has come out with a CD called "Film Noir," following k.d. lang's torchy, nicotine-infused "Drag." And once disreputable pulp fictions have been canonized by the Library of America series, which...
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...to present our knowledge of the genre conventions that are used in the genre of Noir. We read the novel Double Indemnity throughout the course, and we also watched its film adaption. For this project, I decided to write a script that portrayed a man’s struggles of trying to make a name for himself in the show business in Las Vegas. Through his struggles, the message that I presented in my script is that the difficulty of accomplishing one’s dream often drive people to commit unlawful acts. The process of this project was rather difficult because I was lacking inspiration. My initial rough draft of the project was a TV show pitch. However, that initial rough draft was incompetent, and...
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...1. What do you think were some of the major changes that came to the film industry in the 1950s and 1960s? What forced these changes? During the 1950’s and 60’s there were so many changes that occurred which transformed the film industry forever. After World War II, soldiers came home and began to have families. People began moving to the suburbs, away from urban centers. The baby boomers began to be born and a whole new generation was formed. Studio control of when and where movies were viewed began to slip away from the moguls. The whole American movie audience after the war had changed. People liked to see a more common man, and they also began to like darker films. Television was also at first a major issue that the moguls were battling. They thought that no one would want to sit at home and watch such a tiny screen. However, they were proved wrong. The movies had also always been driven by the stars, and now it seemed independence was becoming popular. Censorship began to become lenient and many more movies with sex began to sell. Hollywood was completely changing as the founding generation was beginning to fade away. 2. The Hollywood studio system worked tireless to support the American war effort during World War II. Exactly what did they do? During World War II moguls and movies stars worked hard to support the American war effort. They could be seen waving the American flag on movie screens and raising money. Many stars even decided to fight...
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