2. The Generics:
Shot in low level lighting - Dingy, grey, as it connotes
negative sadistic themes
Located in urban cities, clubs, bars, casinos -
secluded, no escape for gangster
Props such as guns, knives, cars, money are used -
this is a measure of how much power the individual
has (more stuff, more power)
Costumes for a traditional gangster include a suit, a
hat, a cigar and a long trench coat
Themes – Betrayal, power, rivalry, evil, reality, power,
materialism, ambition
The women are presented traditionally - as helpless
and usually only seen dolled up in curls and pretty
dresses
The men are presented traditionally – as heroes, so
brave, clever, cool
Shots - close ups of the protagonist, action shots and
over-the-shoulder shots aswell as establishing-city
shots are always popular in the genre
3. Film Noir
• For my opening, I am planning to focus on classic Film Noir, maybe neo-noir
since we are in the 21st century and it will be hard to mirror the
1940’s completely.
• Film Noir is a sub-genre of gangster films that came along around the
1940's after World War II.
• Because of the economic post-war situation, the film industry needed to
make films on a tight budget, using common locations and non all-star
cast. Since that is similar to my situation, I feel it is the genre is easiest to
do.
• It is French for "Black Film" which kind of says it all really. It's dark, it's
twisted, and the outcome is unexpected.
• They were usually shot day-for-night because of their cheap camera
equiptment.
• The major inspiration was American crime, gangster and detective
novels of that time.
• Film Noir also presented women as never seen before - powerful. In
fact, a running theme of the genre was femme fatale, which included
women solely committing crimes.
4. Basic Film Noir Conventions…
• Femme Fatale
• Misogynistic men
• Low level lighting
• Low angle shots
• Dutch angle – squiffed shot
• Shadows
• Alcohol
• Cigarettes
• Trench Coats
• Streets – urban setting
• Rain
• Guns
• Complex storylines
• Flashbacks
• Voiceovers
• Black and white
• Limited camera movement
5. Themes Include..
• Betrayal
• Greed
• Love
• Power
• Lust
• Jealousy
• Revenge
• Power of the genders
• Murder
• Underestimation
6. The Big Sleep (1946)
Non-diegetic classical music starts the
scene, it’s not that clear, but there is a
slight shadow to the left of the shot. This
is the first thing the audience sees, the
personalisation on the door suggests a
big rich house, belonging to someone
with authority .
A sharp, black suit, a tie and a hat,
slicked black hair, neatly presented –
reflects his job, suggests he’s a
detective/fights criminals, this is
traditional for a man. Shot establishes
scene – big house. The music dies down
as he inspects his surroundings
However the music starts up again, gentle
orchestra strings connoting the woman’s
tenderness. Audience assumes she is the
‘femme fatale’ in the movie. Stood by the
flowers reinforces innocence? She is
presented traditionally with hair done-up
and clothes that show off her small
‘woman-ly’ figure.
7. This is an over-the-shoulder two shot
showing the woman clearly flirting, giving
the audience the impression that she’s
girly and harmless. It also suggests she
will be significant in the storyline and the
focus of the man’s attention.
A classical romantic 2 shot, this shows
the woman staring into the man’s eyes
whilst he cradles her in her arms.
Genders are shown traditionally, the man
‘protecting’ her. She then says “You’re
cute”. There is a theme of lust between
the pair. The piano
In this shot, the men are all wearing
smart suits, bowties, ties etc. Whiskey is
the choice of drink for the men. This
connotes class and wealth, signifying a
traditional representation of men. The
music builds up and up representing the
man’s anxiety as he meets the general.
8. The film begins with an establishing shot
of a car on a highway at night driving
towards the audience. The sign says “los
Angeles” establishing location. The car is
driven erratically but not out of control,
the music is upbeat and dynamic creating
an exciting atmosphere.
Double Indemnity (1944)
The camera is static and fades in and out
of different shots following one car’s
speedy journey through the night roads.
Dodging cars and stop signs. The roads
are pretty empty and the cars are old
fashioned.
A man then gets out of the car, his
features are not apparent apart from the
hat on his head and a long trench coat.
The music dies down, he knocks on the
door and a man in a suit presumed to be
a nightwatchman greets him as Mr Neff.
This suggests the house belongs to
someone wealthy.
9. The both get into an elevator and small
talk is made between the pair. This isn’t
someone’s home, maybe it’s a place of
work? The man’s back is still turned, the
audience have not yet seen his face,
extending the curiosity. The conversation
is one sided with the night-watchman
asking questions and Neff replying with
one worded answers, this highlights the
power asymmetry. We learn Mr Neff
owns an insurance business.
They get out the lift and through some
glass doors, the camera tracks Mr Neff as
he walks over and watches workers. The
camera tracks going from a point-of-view
shot to an over the shoulder shot.
The camera has now tracked alongside
Neff and is now showing things from his
point of view. Row after row of desks
presumed to be an office of night
workers. The glass doors read
“insurance___” on the front. Suggesting
Neff is boss to all these workers.
10. High angle street shot of the night, seems
to be common in the openings I’ve
watched. It is silent, apart from the slight
sound of rain and the camera is panning to
the left revealing more of the street. The
scene is only lit by streetlamps suggesting
an eerie undertone.
There is now a non-diegetic narration
of a child, and a close up of a foot in a
puddle, this is when the music begins.
Bugsy Malone (1976)
The narrator speaks of the boy in the
shot, he seems to be running away
from someone. Similar to Double
Indemnity, the film starts on a street, at
dark, filming someone’s journey
11. There they are, the presumed
gangsters. The extreme long shot
forbids the audience to make out any
features other than their shadows. For
now, they are black silhouettes in suits
and hats. This reinforces their power.
They are kids! Possibly mocking traditional
gangsters. All wearing suits and hats. The
red ties they are all wearing suggest they
are in some sort of club. It is common for
American gangsters to wear black suits
and British to wear beige suits. The only
sound is the diegetic parallel footsteps.
The kid gangsters don’t have real guns,
they have some kind of paintball ones. It is
shocking for the audience to see a ‘kid in a
man’s shoes’ as this is boys’ playtimes
taken to the extreme.
12. Sin City (2005)
The movie starts with diegetic jazz music,
a city scene, and a long shot of a
traditionally-looking woman in a dress.
Everything is black and white APART
FROM HER RED DRESS. This is an editing
technique I will 100% use.
The audience now hears a voice over of a
male, a silhouette-style male walking
towards her. The saxophone only seems
to play when the narration begins. This
shot has a very wide depth of field which
is common in all Noirs.
Over the shoulder shots are used SO
MUCH in this opening. Especially when
back and fourth dialogue is used. He is
dressed smartly in a black suit, and
slicked back hair.
13. A close up as he lights her cigarette, a
flirtatious move. Her eyes watch him as
he does so, her eyes suddenly go really
green, almost devil-like. (A technique I
may use)
She has her back to him, to emphasise
the mysterious-ness. The jazz music is
soft in the background and his narration
describes her actions every once in a
while.
The characters are white comic-like
silhouettes with a city background,
embracing in a romantic snog. This adds
a touch of romance to the scene. (Not in
the 2min opening but the audience is set
up for a false sense of security as he
shoots the woman in the end!)
14. It’s dark, the only light in the scene is the car
lights. All that’s heard is the ambient sounds of
the car driving along the highway. The camera
tracks left as if the audience are following in a
separate car
Goodfellas (1990)
This is the first time the audience
meets characters in this film. Only
one is in focus suggesting he is the
character the film will revolve
around
Once again, the shot is only lit via
the car. This long two shot allows
the audience to view the men’s
outfits in full. The men (hard to
make out) are wearing black suits,
suggesting their positional
authority and criminal activity
15. One of the guys suddenly pulls out
a knife and starts stabbing the guy
in the boot. Knives are not a
traditional weapon used by a
gangster. (Later on in the film, the
audience learns he actually got the
knife from his nan’s) The other
men watch intently.
A two shot of the trio, same
lighing. The guy on the left then
pulls out a more traditional
weapon (a gun) and shoots the
already dead man. Scorsese uses
flash-bulb-like editing to represent
the gun shots.
Here is a close up of the
protagonist. A freeze frame,
narration, and contrapuntal non-diegetic
sound begins. The music
acts as a sound bridge leading to
the next scene.
