Film Noir<br />
FILM NOIR<br />French for “black film”<br />Typically a Hollywood drama with cynical attitudes and sexual motivations<br /...
STORYLINES<br />Literary influence from the American detective novel and crime fiction<br />Usually includes convoluted st...
QUINTESSENTIAL FILMS<br />Laura (1944)<br />The Maltese Falcon (1941)<br />Double Indemnity (1949)<br />Touch of Evil (195...
LAURA<br />LAURA - THE FILM<br />
MOODS<br />    Film Noir is less a genre, per se, than it is a mood.  They reflect the tensions and anxieties of the post ...
CHARACTERS<br />Central figure usually private eye or plain-clothes policeman<br />Hero is generally flawed, morally quest...
FEMALE DICHOTOMY<br />Dutiful, reliable, trustworthy, loving <br />Mysterious, duplicitous, double-crossing, gorgeous, unl...
FEMME FATALE<br />French for “deadly” or “fatal” woman<br />Typically villainous, sometimes anti-heroine<br />Represents d...
APPEALING ELEMENTS OF FILM NOIR<br />The male/female relationship and archetypes<br />The femme fatale and female dichotom...
Limitations of Film Noir <br />Exaggerates; melodramatic<br />Encourages stereotypes<br />Often pessimistic and moody; pre...
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Film Noir Pp 1

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Film Noir Pp 1

  1. 1. Film Noir<br />
  2. 2. FILM NOIR<br />French for “black film”<br />Typically a Hollywood drama with cynical attitudes and sexual motivations<br />Films dated from the early 1940s to the late 1950s<br />
  3. 3. STORYLINES<br />Literary influence from the American detective novel and crime fiction<br />Usually includes convoluted storylines, frequently involving flashbacks<br />Male protagonist usually wishes to elude his mysterious past and has to choose which path to take<br />
  4. 4. QUINTESSENTIAL FILMS<br />Laura (1944)<br />The Maltese Falcon (1941)<br />Double Indemnity (1949)<br />Touch of Evil (1958)<br />Dark Passage (1947)<br />Citizen Kane (1941)<br />
  5. 5. LAURA<br />LAURA - THE FILM<br />
  6. 6. MOODS<br /> Film Noir is less a genre, per se, than it is a mood. They reflect the tensions and anxieties of the post world wars era. <br /> Generally, they featured: <br />Melancholy<br />Alienation<br />Bleakness<br />Disillusionment<br />Paranoia<br />
  7. 7. CHARACTERS<br />Central figure usually private eye or plain-clothes policeman<br />Hero is generally flawed, morally questionable, alienated<br />Criminal motivation often jealousy<br />Archetypes include femme fatale, hardboiled detective, corrupt policeman, jealous husband<br />Smoking is mandatory<br />
  8. 8. FEMALE DICHOTOMY<br />Dutiful, reliable, trustworthy, loving <br />Mysterious, duplicitous, double-crossing, gorgeous, unloving, predatory, unreliable, irresponsible, manipulative (the femme fatale)<br />
  9. 9. FEMME FATALE<br />French for “deadly” or “fatal” woman<br />Typically villainous, sometimes anti-heroine<br />Represents direct attack on traditional womanhood and nuclear family<br />An alluring, seductive woman whose charms ensnare her lovers in bonds of irresistible desire, often leading them to compromising, dangerous, and/or deadly situations<br />
  10. 10. APPEALING ELEMENTS OF FILM NOIR<br />The male/female relationship and archetypes<br />The femme fatale and female dichotomy<br />Mystery and crime<br />How American attitudes are expressed<br />
  11. 11. Limitations of Film Noir <br />Exaggerates; melodramatic<br />Encourages stereotypes<br />Often pessimistic and moody; presents the world as corrupt<br />Generally presents problems and corruption rather than solutions<br />
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