Hierarchy of management that covers different levels of management
The Evolution Of Film Noir
1. The Evolution Of Film Noir
The film noir genre first appeared in the early 1940s and has grown since their first appearance on screen. While there are various definitions and
aspects that can define this genre, it is usual depicted as having an anti–hero set in a realistic setting while trying to fight inner demons and the outer
world surrounding problems simultaneously. As any genre, it has noticeable tropes that can place it within this spectrum. Over the years, since the first
decade of film noir, society has changed, causing the genre to adapt. The changes are not limited to being on film, but also to those within other forms
of media, such as television and literature. Rather than focusing upon one area, it is better to look on it as a whole. Headhunters is a more ... Show more
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This is an idea similar to that of the butterfly effect, any action can lead up to affecting not only one person, but to a whole group of people, which is a
concept that is widely known. Broadchurch, a British television series, "employs its complex narrative structure to reveal the hidden connections that
are at play in society, but hints that those connections may sometimes work on a level beyond all human rationality." While this series may not be a
Nordic series, it does have the Nordic noir idea of including the broader audiences. The crime television series intends to include the big picture; all
individuals are apart of this life and have a connection to it. Nordic noir just so happens to be a genre that manages to capture this within a television
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2. Film Noir
"Film Noir" is a term that has been up for debate for an extended time period. Film Noir is French for "Black Film", it was used to describe a
proportion of American films that reached a French audience for the first time after World War II. These American movies depicted or expressed the
feelings of this time period. The world was going through a dark and gloomy time. It analyzed the social aspects and it was evident in films in various
ways. The movies characterized as "Film Noir" shared themes of social failure, fatal attraction, and criminal perversity. Casablanca, Double Indemnity,
and Postman Always Rings Twice are just a few films known as Classic Noir. AlthoughFilm Noir can fit into many categories of genres like: crime
genre, thriller,
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3. Noir Film Analysis
The train comes into La Ciotat Station. The passengers waiting for the train and the train coming into the train station seem to be full of life. In 1895,
Lumiere brothers photographed the arrival of a vibrant train with the best cinematography instrument of the time, the Cinematography, which is
considered the first film. 'Film' has developed dramatically since then. The public was enthusiastic about the film, and this moving picture became the
most popular and technology–intensive art. The appearance of a film changes through various factors. Among them, the technical and economic factors
have a big influence on it. For example, economic changes in society affect film genre formation, as the Great Depression of the 1950s influenced the
formation of the film Noir. Noir was later formed as a genre with more stability due to the economic factors within the film industry. Also, as the
technology developed, the graphic technique shaped the film Noir into a broader genre. Thus, the formation of the film genre is shaped and changed
according to various external factors.
Firstly, the term 'noir' means 'dark' or 'black' in French which explains gloomy and merciless storytelling of film noir. Its formation has back to the
1940s. The American Society was intoxicated with the huge surplus caused by exports of military supplies, which led to overheated consumption and
the mass production of many goods. However, at the end of the Second World War, the society was unable to cope with
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4. Noir Film Essay
The sequence illustrates the dominant features of the Noir film style. Some common elements found in Noir films are: the anti–hero protagonist, the
femme fatale, taut or no–nonsense dialogue, and high–contrast mise–en–scГЁne. It can be seen that the sequence leads audience to the climax of the
story plot, as Maxim faces an obstacle when he is attempting to resolve his own issues, thus he must own up to the consequences of his actions and
stop running from the memory of what he has done, indicating a breaking change in the audience's perception of Maxim. Therefore, the sequence
fulfils the "anti–hero" part of the Noir film plot. In the clip, it can also be seen that the director applied continuity editing. This editing method involves
point–of–view shot and shot/reverse–shot. ... Show more content on Helpwriting.net ...
The entire sequence is shot in Rebecca's shack, which is dark and musty, and there is little light coming from the windows because of the rainy
weather. This brings focus and light to only the two main characters in the room and the area that Rebecca walked through before she died, making the
rest of the room dark and mysterious; fulfilling the high–contrast mise–en–scГЁne.On the other hand, one can also argue that the film is based on a
rhetorical theme in relation to the ways in which Mrs. De Winter strives to gain equal rights. The film represents women and feminism in some unique
ways. As an example, the film shows that women are a romantic entertainer, but the issue they have is that they break away from responsibilities at
home and with the
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5. Analysis Of Casablanca Film Noir
The film noir Casablanca by Michael Curtiz will always remain an American classic. Director Michael Curtiz shows WWII on the homefront, using the
setting to transfer the viewpoint. Famous and popular actors Humphrey Bogart, Paul Henreid and actress Ingrid Bergman engage in a love triangle that
leads the film to its purpose and theme. Whether the genre be a film noir or a wartime romantic drama, Casablanca illustrates lenient criticism through a
hometown war rebellion setting and a true love's hardships. With the use of low–key lighting, urban settings and unconventional camera angles,
Michael Curtiz helps to illustrate Casablanca's noir style. Casablanca effortlessly captured the essence of the film noir style and it was the low–key
lighting
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6. Laura Film Noir
Music had a number of distinctive characteristics for film noir and especially played a huge role in Laura, a classic film in 1944 that was directed by
Otto Preminger with music by David Raksin. The hauntingly beautiful Laura theme was composed by Raskin which became one of the most popular
melodies of that decade. The melody was played in the opening credits with such rich materials that it provided essentially all of the musical material
for the rest of the film. The film follows a detective, Detective Mark McPherson, in his investigation in the murder of a beautiful advertising executive,
Laura. There are quite a few characters that come into the film, one notable character being Waldo Lydecker, Laura's old mentor and ex
–boyfriend who
at ... Show more content on Helpwriting.net ...
Laura's theme played in a lower version of the melody represented Waldo's unhealthy obsession for Laura. It showed Waldo's jealousy of Laura's
other lovers as well as how desperate he was in getting rid of them. Also, Laura's theme foreshadowed the revealing that Waldo was the murderer
all along and wanted to kill Laura for the reasoning that if he couldn't have her, nobody else could either. Laura's theme was played to convey the
high tension in a scene with Waldo when he walked to Laura's apartment and discovered that she ditched her plans with him while she pursued an
affair with Jacoby. The haunting theme is heard from a lonely flute, until a dark clarinet sound comes in and a violin plays a lingering high note,
representing Waldo's anger over the affair. There were lower toned string instruments that filled the melody with Waldo's narration that gave way of
his negative views of Laura's other lovers and the steps he took to get rid of them such as when he published a story that discredited Jacoby and when
he told of Shelby's infidelity and untrustworthiness to Laura to end Laura's relationships with the men. Towards the end of the film, we see how
Laura's theme becomes even more haunting when it plays showing Waldo's wild thought process after Laura denies him. We can see his resentment of
the unrequited love from Laura and his plans to kill
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7. Film Noir: Out Of The Past
Film noir is a cinematic term used to describe stylish crime drama movies. They usually involve cynical attitudes and sexual motivations." All film
noir movies are shot in black and white giving sense of moral corruption, evilness or desperation. A dark–themed music is played making the movie
more mysterious. The world inside the film noir movie is filled with doom, fate, fear and betrayal. The factor in the movie "Out of the past" that proves
it is film noir are atmosphere of movie, presence of character as femme fatale and doomed character.
The movie is shot in black and white giving viewer the sense of dark world filled with moral corruption, evilness and betrayal. In the movie, Jeff
was hired by the gangster named Whit Sterling to track down his mistress named Kathie Moffat. Whit told Jeff that she shot him and ran away with
$40,000. Jeff was supposed to bring Kathie back but instead he ran away with her. This provide the evidence to the presence of betrayal in the movie.
The use of shadows and lighting in this movie is also another aspect that proves that this movie is Film Noir. This ... Show more content on
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In this movie, Kathie played as a Femme Fatale. She possess every characteristics of it. She is gorgeous, manipulative and very mysterious. "She was
portrayed as a treacherous woman who rarely hesitates to kill to get what she wants." She never fails to maintain a serene expression on her face when
others would show panic. That serenity carry something deep in her act portraying her as very mysterious woman. She convinced Jeff that she hadn't
stolen $40,000 and she shot Whit Sterling in self–defense. This is the evidence that proves her manipulative nature. Like any other Femme Fatale,
Kathie also has bad influence on life of characters. She has greatest impact on not only in Whit's life but also in Bailey's life. Jeff's behavior changes
throughout the movie due to Kathie's role in his
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9. Bud Film Noir
Film noir is a style of crime drama movies from Hollywood that are often focused on sex, crime, and corruption by using techniques like: compromised
heroes and contrasting characters; camera shots with objects that have physical properties of reflectivity, transparency and translucency; a femme
fatale; and specific setting. Film noir movies were during the period of early 1940s to the late 1950s. Film noir means 'black film.' Other films that
integrated film noir techniques but were not during films noir era were known as Neo–noir, meaning 'new black.' Neo–noir incorporates elements of
film noir, but with updated themes, content and modern media of motion pictures. For example tradition film noir films don't use of dull and muted
colours while ... Show more content on Helpwriting.net ...
Confidential like most film noir movies is set in an urban city at night and the story takes place mostly in bars and cheap hotels. This makes film
noir movies look very dark, because the scenes are shot at night, inside dark places like a bar or hotel and with people doing morally ambiguous
activities. A favourite tool employed in film noir is chiaroscuro lighting that create a strong contrast between darkness and light; which creates a
suspenseful surreal atmosphere that shrouds the film like when Jack arrested the kids who were doing drugs. Curtis Hanson often has a lot of dark
shadows in certain scenes; even on the faces of the actors. These shadows imbue a sense of darkness and thus give the film a mysterious and
suspenseful note. Also locations like the nite owl have a lot of alleys, of the back doors of fancy places. They also include shabby residential hotels
with a neon sign blinking through the window like the hotel in which Jack tried to stop the
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10. Noir Film Analysis
American film noir didn't start as a genre but a visual style of film as depicted in 1940s American films like This Gun for Hire, but following the
coining of the term by post world war II french scholars film noir especially from the 70s to the present day through films like LA Confidential has
evolved to a very recognizable and full featured genre . We are able to recognize films within the noir genre as with any genre films for their distinct
syntactic and semantic qualities, the same theories/concepts Rick Altman uses to define the difficult concept of genre remain very similar between the
1940s noir and today's contemporary neo noir. In talking about the syntactic and semantic list of film noir its pretty helpful to know and understand
what these elements are. It's difficult to say that there is a sole formula for every noir film, but there are many recognizable commonly occuring traits
that remain constant from the genre's inception over 70 years ago going forward into contemporary neo noir. In terms of syntactic elements as
identified in the Belton text's noir chapter the most universal elements would be the complex narrative structure, the violent nature and involvement
with crime, fem fatales, arbitration of justice, tough guys, and loneliness. These are really what drive the film non visually whereas the semantics
contribute to the visual stylings of the film. Noir films share the common semantic elements of low key lighting, dark and rainy nights, sequencing,
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11. The Characteristics Of Film Noir As A Fiction?
Film Noir is a term used to describe a collection of films ranging from John Huston's The Maltese Falcon in 1941 to Orsen Welles's Touch of Evil in
1958 (Naremore 14). There is much argument whether film noir is to be classified as a genre, style, or period; however, there is little disagreement
when it comes to the characteristics of film noir. Many are adapted from hard–boiled detective novels and share similar visual and narrative traits
(Naremore 14). One of the most popular film noirs is Billy Wilder's Double Indemnity, which tells the story of Phyllis Dietrichson (Barbara
Stanwyck), a woman who purchases a life insurance policy for her husband from insurance salesman, Walter Neff (Fred MacMurray), with the intent
of murdering him to collect the claim. After seducing Neff to help her, the two carry out an elaborate plan to stage her husband's murder as a train
accident, evoking the double indemnity clause in the insurance claim allowing them to collect double the money. The plan succeeds but Neff's boss,
Barton Keyes (Edward G. Robinson), manages to figure out the murder with the only wrong detail being the man who assisted Phyllis. Neff also
begins to grow suspicious of Phyllis after her step daughter Lola (Jean Heather), with whom he spends a great deal of time after the murder, reveals to
him that she believes Phyllis killed her mother. The pressure caused by their crime getting figured out, along with the reveal that Phyllis was just using
Neff, leads to the two
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12. Memento Film Noir
whatever it draws upon evolution or some other conceptual model, the history of any genre cannot be written without regard to broader historical
processes
A black and white phenomenon known as film noir was a style of cinematography introduced by French critics in 1946. The popularity of the style
was inevitable. The style started to introduced just before the U.S entered World War II but it didn't developed fully until the late stages of World War
Plot complexity is an important characteristic element of neo–noir film. An example of neo noir film with a complex plot is The Memento by
Christopher Nolan 2001. The film has a very complex plot and a series of flash back. The story of the film is told backwards and the flashbacks are
moving forward. In a way that the black and white flash back scenes and the coloured backward scene become one at the end of the film. The
protagonist has an objective view of the world around him and has a disability that makes his ... Show more content on Helpwriting.net ...
Another characteristic elements of film noir used in this film is the backward story telling. When the film start with the end of the story and we then
find out how it all happened as the movie retells the story. Then at the end we return to the finals usually, usually a death which in Memento is the
death of Teddy another John G. this is a circular structure in film noir which became very popular.
These elements and characteristics in classic noir and neo–noir much remains the same. Characteristics such as complex plots, complex mise–en–scene,
first person voice–over narration, the existence of femme fatale.
In fact in the classic film noir Double Indemnity 1994 same elements can be viewed. The film has a complex plot which, starts with the ending of the
film when Walter Neff, is shot in the chest and is explaining what had happened on the phone. The voice–over narration is used by the male
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13. Analysis Of Film Noir
Film noir is described as being a piece of crime drama that involves the use of specific narrative elements and film elements. Through the use of these
elements, countless individuals are entertained by the pure drama. Film noir, represents crime examples that many individuals in the United States
could relate to; especially those that were living post war in the1950s. From French roots, the term film noir has a literal meaning of "dark film". "Dark
film" is an acceptable coined term for noir, because it represents a character that is in their darkest time and is manipulated by a femme fatale
character. The noir also having a very sinister story line is also a reason for it being dark. According to the knowledgeable Richard Schickel, "despite
its Frenchified name, [noir] is a truly American form". Mainly film noir is created for the American audiences because during ... Show more content on
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In every noir, there has to be a femme fatale, because without this controlling antagonist, there would be no existence of noir. The femme fatale
character is an attractive female in the film who is manipulative and will ruin the male protagonist's life. In addition Encyclopedia Britannica explains
how, "the women of film noir often evoke sympathy, as they are frequently victims of emotional or physical abuse, with such victimization providing
impetus for their vengeance". They are intelligible enough to make it seem as if they are the victim, but in reality they make the male antagonist their
victim. For this reason, she is the main attraction of the dark side of noir. Failure does not coincide with her desires, so she will not let failure take
over her. Lastly, the idea of writers and directors creating this character influenced American culture. Before World War II, men had too much control
over females. Post World War II, women were becoming more and more independent and less submissive to
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15. Film Noir Film Analysis
Film Noir is a style that first originated during the early 1940s, influenced by the tumultuous social and political environment of World War II. These
style of films was a subversion from the conventional gangster films of the 1920s and 1930s. The resurgence of Noir style films in the 1970s retained
the themes of crime, vice and moral ambiguity, but updated the content due to the relaxation of the Production Code. In this dissertation, the origins of
film noir and its techniques will be examined, with the films The Third Man (Carol Reed, 1949), and L.A Confidential (Curtis Hanson, 1997)
contrasted to highlight the impact of the Production Code. According to Paul Schrader's "Notes on Film Noir" (1972), there are four catalysts that
spawned the film noir style: Post–war disillusionment, a desire for realism, Germanic influences and the "hardboiled" tradition1. During World War
II, the prominence of dark, brooding Film Noir was overpowered by the American propaganda produced, but changed after the tragedy of World War
II, as American audiences accepted a less optimistic view of society. This desire for realism is highlighted by the artificial optimism of previous films
pre–World War II. Furthermore, The "hardboiled" narratives of the 1930s influenced Film Noir through their "tough", defeatist attitude of characters
who reside in a cynical atmosphere. In terms of cinema, Film Noir borrows cinematic techniques and style from German Expressionism, which refers
to a film
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16. Film Noir Fiction Analysis
How to Write Noir Fiction
The Merriam–Webster Dictionary (n.d) defines noir as "crime fiction featuring hard–boiled[,] cynical characters and bleak[,] sleazy settings." However,
it could be asserted that "claustrophobic" would be a better descriptor, in place of "sleazy." Noir comes from "film noir," which means "black cinema,"
and was a term coined in France in reference to a particular subset of Hollywood films that were permeated with previously unseen levels of cynicism
or disillusionment (Hoerneman, n.d.), this cynicism is generally attributed to post–war dynamics, after the end of World War II. Noir tends to refer to
the claustrophobic, gritty atmosphere and intense shadows of the 40s film noir classics as much as it refers to the cynicism and almost inherent
heaviness of the storylines that those classics ... Show more content on Helpwriting.net ...
As a writer, it is subgenres like noir that fascinate me. There's this set of defining features, and within that set of defining features there's this limitless
variance and potential. The quickest way to gain an overview, of any genre, is to watch movies that fall into that genre, and in that vein, my forays into
the noir genre have been primarily to the tune of noir that had been immortalized on film.
A classic example of film noir is Tay Garnett's 1946 film, The Postman Always Rings Twice, which employs a plot driven by a wife's affair with her
husband's newly hired employee, and follows the wife and her lover as they plot the murder of her husband. Some examples of movies that fall inside
the classification of "noir" –– but which aren't 40s era film noir –– are Ridley Scott's 1982 science–fiction noir, Blade Runner, Doug Liman's 2002
action/adventure noir, The Bourne Identity, and Richard Williams' 1988 urban
–fantastic noir, Who Framed Roger Rabbit. On first glance, none of
these films are related, in fact, they don't seem to have much in common (except for
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17. Classical Noir Vs Neo Noir
Film noir has a distinct style that is usually easy to spot and emulate. However, in this distinct style, there comes two time periods within the genre that
can often have effect on the style. These time periods are classical noir and neo–noir. While noir films made in these time periods have the same set of
narrative characteristics, there is also notable difference in characters and, in some cases, visuals. To understand the difference between classical noir
and neo–noir, it is essential to look at the writings and analyses of those who have studied the genre thoroughly. First, Paul Schrader was the scholar
who defined the three phases of "classical noir". Those being The war–time phase, the post–war realism phase, and the "psychotic action" phase
(Schrader 587–588). So, even the classical noir period is broken down into three different "phases." The war–time period is characterized by private
eyes and "lone wolf" detectives. The post–war realism phase is characterized more by its commentary on crime and corrupt authority. The "psychotic
action" phase is characterized by a usually insane, psychotic protagonist (Schrader 587–588). Borde and Chaumeton, two French film scholars who
coined the name "film noir", also offered ideas on what a "classical noir" is. The two write that "the presence of constant crime" is a characteristic of
classical noir that is present in and throughout noir films (Borde and Chaumeton 19). Like Schrader, Borde and Chaumeton agree that authority
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18. Elements Of Film Noir
Problem Statement The element of film noir is widely often misinterpreted, and it confuses audience with the genre of these films. According to
Andrew Spicer (2010),
Film noir has always been problematic because it is a retrospective category, not applied to the films whose characteristics are not so obvious or clear
cut as comedies or westerns or even crime thriller with which film noir is sometimes conflated. (p.xxxvii, line 6)
From there, it shows that film noir sometimes lead audience could not define the genre because story may appear unclear and sometimes this genre can
be confusing as crime thriller since most of the films centered in crimes fiction. Thus it is important to study the element of film noir as these elements
play the ... Show more content on Helpwriting.net ...
So researcher will work on the philosophy of film noir to define the element in film noir. By the way, the researcher will also compare the
difference of noir element used in film between Martin Scorsese and David Fincher. In the contemporary era, both directors have their own style to
present in film noir. The researcher will analyze their movie to compare the difference between Martin Scorsese and David Fincher whom came from
different era. The movies used by the researcher are : Martin Scorsese, ( Shutter Island 2010 and Bringing out the dead 1999) while David Fincher, (
Fight Club 1999 and Seven 1995) to compare the element used in their film to complete the
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19. Noir Film Analysis
In Paul Schrader's "notes on film noir" essay, he was carefully to describe a very vagueness to the almost genre of film noir. He made it clear that it is a
genre that cannot be specifically pinned down to a single black and white definition. For example he very wisely described it by saying, "It is a film
"noir", as opposed to the possible variants of film gray or film off–white". This explains how there is this subtle thing, or a je ne sais quoi, that belongs
to film noir that makes it film noir. While this "thing" that belongs to film noir is a feeling, it is something that also is very specific to a era in
time. Schrader says how it is "period of time in film history", which goes to show how strange film noir is. How can something that is so
nonspecific belong to something so specific at the same time? Charles Higham and Joel Greenberg's essay "Noir Cinema" takes a liking to
Schrader's essay in the sense that it has the diversion to subject film noir to a hard definition. Though while Schrades like taking a stab at film noir
through tones and influences, Higham and Greenberg seem to describe film noir in characters and images For example they say film noir lives in a
world that is "always night, always foggy or wet, filled with gunshots and sobs, where men wear turned–down brims on their hats and women loom in
fur coats, guns thrust deep into pockets". These images that are described by Higham and Greenberg are the visual manifestation of Schrader's je ne
sais quoi of film noir. They are all of the different shades of black that make up film noir. Both of these descriptions of film noir take a compliment
to each other, though they differ greatly in their categorization as Schrader says film noir is not quite a genre while Higham and Greenberg say it is.
Higham and Greenberg like to focus on the effect of the female character, or femme fatale, of film noir. They seem to suggest that the tone of the film
noir, which could be a good case, is dependent on the actions and character of the femme fatale of the film. The world of the films seems a little less
corrupt and negative in general, when the femme fatale or female's plot ends on a happier note. In a way, there definition of the film noir's world is
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20. Mildred Pierce Film Noir
1.The Film Noir originated in the early 1940s. These films highlighted the dark side of human existence. These films focused on darkness, sorrow,
depression, crime, and helplessness. One of the first stylistics Schrader discussed was the darkness. The rooms were dimly lit, or the shades would be
drawn to create an illusion of darkness. The darkness served the purpose of creating suspense and heightening the dark feelings the screenwriters seek
to evoke. In the film Mildred Pierce, a majority of the film takes place in a police station. The police station was very dark, all the curtains were
drawn, and the police officers smoked, creating a dark and hazy setting. This element was highlighted in the ending scene of the movie. For example, ...
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This aspect of film noir is used to emphasize the hardships or devastation that the characters have faced in the past, enhancing the cycle or
importance of the character's suffering. This stylistic coincides with the next stylistic that Schrader discussed in which an organized timeline of
the characters' suffering or hopelessness is applied throughout the film. Mildred Pierce's character went through a hard life of being used and
abused by the men she loved and her oldest daughter Veda. She also faced some struggles such as divorce, unemployment, infidelity discrimination
due to her gender, and the death of her youngest daughter. Mildred Pierce exemplifies the organized timeline of suffering for the main protagonist
because Pierce had described her life of suffering through a series of flashbacks that lead back to the ultimate climax of events and back to the
police station. "Mildred: It didn't take me long that night to figure out that I was dead broke. And with Bert gone, it looked as though I'd stay broke.
I felt all alone. For the first time in my life, I was lonely. There was so much to remind me of Bert. How things used to be with us. And what great
hopes we had" (Mildred Pierce). This quote reveals the flashback that Mildred's Character had when reflecting on the bad things that happened in her
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21. American Film Noir Essay
American Film Noir
Student's Name
Institutional Affiliation
American Film Noir
There have been several debates over a long period of time concerning the validity of film noir as a distinct genre. Essays and books have debated the
term for years using various criteria and rubrics to back up their respective positions on the subject. As the 21st century brings new and creative trends
from screenwriting to post–production and everything in between, the boundaries of noir become even less certain. One may even find a fitting parallel
between the noir protagonist's ambiguous and perilous quest with that of the hapless and naГЇve academic in search of an unequivocal definition of
noir itself. This essay aims at summarizing the evolution of American film noir to present day, by using seminal works to determine how these films
have become influenced by American cinematic trends of postmodern narrative structures and subjectivity.
History of Noir
The argument to be made is that, with the emergence of cinematic technological advances coupled with postmodernism's abandonment of meta
narratives and traditional socio–cultural identities, filmmakers are digging even deeper into the dark recesses of the human consciousness and using
noir as a platform. It is not very surprising that to date no other genre relies more on the fragility and temperamental nature of the human condition
more. Oftentimes characters in a noir narrative are either vindicated or condemned based
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22. Vinyls + Noir : An Online Lifestyle Blog
Vinyls + Noir is an online lifestyle blog that was created late 2012 by Tatiana Davis. Since that time it has grown from a part–time hobby to a
full–time career. There she writes, photographs, designs, and styles everything for her continuously growing audience. Basically, she is a freelancing
creative visual for those who follow or do business with her. Vinyls +Noir has been seen on Calvin Klein, Steve Madden, Sober Is Sexy, and Civil
Clothing to name a few. As a blogger she has collaborated with Civil Clothing, Sober Is Sexy, Front Row Show, Missguided, SameOldChic, etc.
There has also be recognition from maybe other designers, editors, photographers, and clothing brand PR's. Now we're moving into the next steps for
Vinyls + Noir. Wewant to take this one woman machine, and change it into a small business. With a group of intelligent and creative individuals we
want to make Vinyls + Noir an household name. We want to expand as far as we can into different fields within the industry. Therefore, we need a
team of individuals who are well–rounded, trendy, and hardworking. By 2016 we are looking to start a new network on youtube. We are also looking
to create a blogging community by adding on two more blogs to the Vinyls + Noir family. The company does not want to create an environment
where the artist feel restricted. We want our employees to work hard but to also love working. The employee should feel as if they are at home
freelancing or contracting. We are not
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24. Double Indemnity Film Noir
The film industry has gone through many different eras and genres, but one of the most significant in all of the industry's history was film noir. Film
noir is not necessarily a type of genre but rather a tone that branched off from the crime/gangster sags of the 1930's. It has certain elements such as
crime, sex, greed, and violence that are supposed to represent the same type of evils found in society. As any noirfilm, Double Indemnity also contains
a moral conflict at the base of its plot. Film noir is generally defined as a dark, suspenseful thriller with a plot–line revolving around crime or mystery.
Film noir gained more recognition after World War II. Particularly because Hollywood thrillers were been watched in French cinemas. The idea of film
noir ... Show more content on Helpwriting.net ...
Double Indemnity is said to portray film noir like no other movie because everything from the movie is meant to symbolize a certain characteristic of
film noir. Double Indemnity has it all: a gritty story based off of a hard–boiled detective novel, an outstanding hero (or anti–hero in the case of noir
films), and a great film noir female (the femme fatale). In 1944, director Billy Wilder created on of the greatest black and white movies of all time.
Double Indemnity exemplifies all the characteristics that are usually associated with the genre of film noir. Double Indemnity is based on James M.
Cain's novella. The plot has all the elements of a great noir film: Insurance agent Walter Huff falls for a married woman, Phyllis Nirdlinger, who
consults Huff about accident insurance for her husband in a mysterious way. Although Huff displays some sort of morality, this eventually dissolves
until there is non. He allows himself to be seduced into helping Nirdlinger kill her husband for the insurance money. It's a dark story, and what makes it
even more perfect is that Huff and Nirdlinger commit the perfect crime. The only flaw in the plan was that these two characters distrust each other so
much that the
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25. Femme Fatale in Film Noir
The term film noir was coined by French critics for 1940s–50s American films that shared a dark sensibility and a dark lighting style, such as Double
Indemnity (1944), Out of the Past (1947), and The Postman Always Rings Twice (1946). Many theorists related the common noir attributes and
aesthetic elements to a post war society characterised by insecurity about gender roles, the economy, changing definitions of race, and nuclear
technology. One of the cultural problems the term genre attempts to address is the gender question. The familiarity of thefemme fatale character across
film noir is the predominant cause for discussion amongst feminist theorists. Feminist theorists became, and still remain, interested in the woman's
portrayal in ... Show more content on Helpwriting.net ...
The classic femme fatale in forced to resort to murder to free herself from an unbearable relationship with a man who would try to possess and
control her, as if she were a piece of property or a pet. According to Sylvia Harvey, author of Women's place: The absent family, the women of film
noir are "presented as prizes, desirable objects" for the leading men of these films. The femme fatale's unique power is her brazen willingness and
ability to express herself in sexual terms. By this the femme fatale threatens the status quo, and the hero, because she controls her own sexuality
outside of marriage. She uses sex for pleasure and as a weapon or a tool to control men, not merely in the culturally acceptable capacity of procreation
within marriage. Her sexual emancipation commands the gaze of the hero, the audience, and the camera in a way that cannot be erased by her final
punishment. Attempts to neutralise the power and blatant sexuality of the femme fatale by destroying her at the end are usually unsuccessful, because
her power extends beyond death. Noir films immediately convey the intense sexual presence of the femme fatale by introducing her as a fully
established object of the hero's obsession. Since the camera often represents the hero's subjective memory, revealed
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26. Film Noir: A Classic Film Noir
I have to say right from the word go that this is classic film noir in true Hollywood style, and as detective films go might just be the best acted, best
scripted and best directed whodunnit you will ever have the privilege of watching. Bogart plays private eye Phillip Marlowe, hired by a dying old man
with two beautiful, but uncontrollable daughters.
One daughter is Carmen – played superbly by Martha Vickers– who is being blackmailed, which Marlowe is hired to deal with the blackmailer. He
hardly gets the chance though, because the bad guy gets killed off very quickly, thopugh Marlowe senses that this is just the start of things. He is
attracted to, but also supicious of the other daughter Vivien – Lauren Bacall at her best – and the film ... Show more content on Helpwriting.net ...
There are some who think that Hawks over–complicated things, but if you concentrate you can follow it, even if it it is pretty convoluted at times.
The not incomprehensible story actually unfolds at a frantic pace, and you find yourself able to forgive the odd strange occurrence like Carmen
suddenly being inside Marlowe's apartment, and though not the easiest of stories to follow, the occasional moments when Marlowe explains things do
make a big difference. To my mind, even though this movie is now 71 years old, modern directors could take lessons from it in how make this genre
of film edge–of–your–seat exciting.
Hawks makes perfect use of a tremendously droll dialogue, a fantastic adaptation job from the Chandler book, and the two stars have some fabulous
verbal jousts, including some of the most memorable of verbal exchanges in which they talk about the sport of kings – horse racing – treating the
audiences to all kinds of hidden meanings behind their words, and one phone–call between the pair that is truly
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27. Medic Noir Gender Analysis
Over the recent years Scandinavian crime fiction have captivated television audiences around the world. This phenomenon, known broadly as
'Nordic Noir,' is characterised by bleak, gothic landscapes, and obsessive and socially isolated protagonists who push themselves to solve the cases no
one else seems to be able to solve. This chapter will illustrate how Nordic Noir deploys the film noir narrative tropes, and how it reimagined its heroes
and heroines. With themes of gender politics and its role in creating representation and imagination, I will discuss how film noir deploys its depictions
of gender and how it is constructed for contemporary television that embodies feminism.
Nordic Noir is a fairly recent phenomenon and travels outside of ... Show more content on Helpwriting.net ...
There are women in classic film noir with a similar defiant attitude, to whom the male hero often experiences a sexual attraction: the femme fatale.
These women are studied as symbols of 'peculiar' power: carrying guns, smoking cigarettes, and going after what they want, similar to the men in these
narratives (Gledhill, 1998, p. 24). The femme fatales are mysterious, ambiguous and most significantly: deadly. These women and their power are
however mainly defined by their sexuality and the men often still hold the voice of authority – mainly through voice overs and flashbacks (Gledhill,
1998, p. 24). They are both desirable and dangerous to men (Kaplan, 1998, p. 16). The film noir's femme fatale has for a long time served as a
record for anxieties about female sexuality and power, which will be discussed more deeply later in this chapter. The femme fatale fights against the
male domination and often ends op losing her life or freedom. "The resistance of these femme fatales are always fatal, if not to herself, it will be to
the men who fall for her" (Wager, 2005, p. 4). With the dangers that her sexual performance causes, the classicgenre exposed the limitations of a female
heroine. It suggests that terrible things would happen if men let these sexual women distract them from their quest, and that the power that these
particular women hold, is profoundly dangerous. The sex and gender issues that derive from the femme fatale's presence supposedly trigger the
inevitable demise of herself and the hero, but it is nonetheless important to notice that these early film noirs offered audiences a female character that,
although destructive, is not weak, but
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28. Film Noir Conventions
What is Film Noir? Film Noir literally means "Black Film" in French, the French coined this after World War 2 when they were finally able to view
American films again after the war and they found that these films were quite different than what they used to be. These films had a completely
different atmosphere, a different emotion that was displayed. Film Noir had a very distrustful air about its nature, lacking integrity. Every scene was
cloaked in darkness and the plot had a looming sense of despair (TheBook). The war left America in dark times andFilm Noir was one of the ways
from them to express it. Film Noir was extremely popular in America through the 1940's to the 1950's. Hundreds of American films were under the
Film Noir classification. But what was Film Noir? Was it a Genre, a style, a period in time? Paul Schrader, in an article about Film Noir said, "Film
Noir is not a genre. It is not defined, as are the western and gangster genres, by conventions of setting and conflict, but rather by the more subtle
qualities ... Show more content on Helpwriting.net ...
There are several key characteristics that are easily seen in Film Noir. Most of the film has minimal lighting. Many of the scenes are at night or in
a room with a singular dim light source. The actors and the environment receive the same amount of light, blending them in a way. The audience
only sees what they need to see, the rest is in a shroud of mystery. Film Noir also used lines and shapes to convey feeling in the film. They would
use oblique and vertical lines, oblique to give the feeling of instability and vertical to evoke tenuity. They would also use jagged shapes such as
triangles and trapezoids to make the audience feel uneasy and tense. Film Noir also had an obsession with the use of water. Characters were often by
the sea or lakes, many scenes would be shot in the rain, and even if it had not rained the roads would commonly be glazed with the glossy sheen of
wet pavement and pothole
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29. Neo-Noir In Film Noir
According to Todd Erickson, he states that neo–noir is a genre exhibits a self–consciousness about its indebtedness to the earlier noir films. Neo–noir
has emerged notably in the 1980s, with such films like the 1982 film "Blade Runner," that incorporates familiar narrative and stylistic elements from
the noir films into a science–fiction genre. With its tone and specific style, Film Noir itself has become one of the prominent elements from the 1940s
and 50s that helped shape the American cinema, and internationally to a certain extent. Fast forward 1994, an English–language French film titled
"Leon: The Professional," written and directed by Luc Besson, has been released. It exhibits noir traits from the characters, their interactions, and the
overall environment, but still provides a distinct genre of neo–noir by updating the traits in a contemporary setting.
"Leon: The Professional" subverts the character expectations with the switch of the characters' roles. Leon and Mathilda can be considered as
outsiders, when compared to the characters in traditional film noir films. When it comes to Leon, the viewers would be asked to identify with the
character, but his character itself would make it difficult for them to do so, since he is a strict hitman. His hitman character does evoke hitman
characters in other noir films such as "The Whistler" (1944) and "New York Confidential" (1955). However, it is after he encounters 12
–year–old
Mathilda for the first time that tests his
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30. Film Noir Research Paper
Film noir is defined as a style of film. It was Nino Frank who coined the term in 1946, but the term noir was not used by filmmakers. No American
director during the period of classic noir knew about, it was an unconscious stylistic movement shared by many directors in 1940s and 1950s. Noir is a
French word meaning "black," and although film noir means "black film," it refers to the mood of the film not the film being in black and white. The
femme fatale is a common character archetype in film noir, the femme fatale is a female that leads the male protagonist to his destruction and he winds
up getting neither the money nor the dame. Noir films dealt with the underbelly of a city from gangsters to criminals.
Neo–noir is a style of filmmaking that began in the early 1970s and is still present in today's movies, the word Neo means "new" therefore "new noir"
was the term given to the extension of the film noir style. Neo–noir brought its own qualities to the noir style; due to the ... Show more content on
Helpwriting.net ...
For classic it was about be led astray by a strong female or the way a city was being ran by the underground, this reflected the time after WW2 where
the depression had made it hard to live a clean life and the females had new found power as they started to do jobs that where meant for men, this was
shown in Double Indemnity as Phyllis begin the strong female or femme fatale that doesn't mind killing to get ahead in life.Neo–noir is a lot more in
depth as it starts to deal with all types of issues from technology controlling people to the corruption of a city, movies like L.A. Confidential deal with
the idea of corruption, which classic noir did, but on a much larger scale in stand of being 2 people it shows that it is human nature to do anything to
get ahead. Neo–noir is an extension because it still reflects culture but it does it in a much wider range from the little things to things that we don't
even see as a
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31. Movie Noir : Film Noir
#1
Film Noir is a film genre that has a very distinct style and mood. But what exactly this style and mood are seems to vary from scholar to scholar.
Like all genres, different people have different feelings about what makes or does not make a film noir. In this essay, I will be analyzing film noir
definitions from Naremore, Harvey, and Borde and Chaumeton; to understand how each party views film noir in their own subjective way.
In Naremore's book, he describes film noir as a genre that is very hard to define, as it was named by film critics instead of film–makers, and the name
was established well after the most definitive noir films had been made (11). Naremore seems to have a very fluid definition of noir. But for the sake
of this ... Show more content on Helpwriting.net ...
Naremore does speak of the social and political elements of film noir in his book, but the definition he underlined for us in the introduction was about
style and period.
Fortunately, Sylvia Harvey touches on the social aspects of film noir. She especially points at how film noir comments on working culture in America
and its dark side. People went from working for themselves, to working for corporations, and thus became isolated which led them to risky behavior to
escape the mundanity of their day to day lives (26). Double Indemnity, she writes, follows this thought process well. Walter Neff, she says, began his
non–business relationship with Phyllis Dietrichson as a "means of escape from the boredom and frustration of a routinised [sic] and alienated
existence" (27). Usually women were the scapegoat in the working man's quest for liveliness.
I think Harvey has a valid point about film noir's commentary on American working culture, and a deadly form of escapism. But, I think her saying
that it is the fault of the women in the films is erroneous. Perhaps in Double Indemnity, it is fair to say that Walter Neff would not have turned to the
dark side had it not been for his infatuation with Phyllis. But with film noir as a whole? In Detour, we have a
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32. Film Noir Themes
Film noir, as part of the distinct branch of the crime/gangster saga, creates a world that consists of a dark, shadowy setting, a pessimistic perspective
on life among the characters, and the typical private investigator paired with a femme fatale.These characteristic later evolved to create what is now
called a neo–noir film; a distinct twisted film that leaves the viewer with bittersweet outlook. An example of the contemporary film noir is Kiss Kiss
Bang Bang directed by Shane Black. This film plays to film noir themes: it looks at the unsuspecting hero, the unscrupulous tough–guy role model, and
a love interest who is idealised but somewhat blemished. In terms of the structure, the breaking of the fourth wall is used, the film's setting is in the
city of Los Angeles and most of the scenes are played out during the night. However, there is a twist in every theme presented as the film turns to a
more demoralized, comedic take on the characters' stories. ... Show more content on Helpwriting.net ...
On example of this is when he is telling the story and he realizes he started off wrong, pauses, and then continues again, like in this scene of the movie:
Harry: And that's how she got to the same party as me. Oh shit. I skipped something. Damn it. This whole robot bit. I made a big deal, then I like
totally forgot. Fuck, this is bad narrating. Like my dad telling a joke. "Oh, wait back up. I forgot to tell you the cowboy rode a blue horse." Fuck.
Anyway, I don't know if you want to see it now, but here's the fucking robot stuff for your viewing pleasure. Can I say "fuck" more?' (Kiss Kiss Bang
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33. Movie Noir : Film Noir
Many people from different countries across the world have been coming to United States, including Austrian director Billy Wilder. He directed many
film with different genres including Film Noir. Film Noir translates to "Dark Film," the name was given by the French after watching Hollywood
crime thrillers that began to show after World War II. These films typically had dark lighting style closely related to those in German Expressionist
films. However, Film Noir borrows its form from influences of major Hollywood popular genres, using themes that were related to social context and
civilian life in the United States. Two films that demonstrate how Film Noir was influenced by Hollywood and the social context in America include
Sunset Boulevard (1950) and Ace in the Hole (1951) both directed and written by Billy Wilder.
Film Noir came to be because of several aspects in the film industry like low budgets, low key lighting and self–indulgence. Going to the movies
during the depression in the late 1920's, was an escape from reality. Technology advancements like sound on film and Technicolor brought more people
to the movies, increasing the number of movie theatres in the United States. Studios like Paramount saw the opportunity to make more money using
Block Booking; a system that allows studios to sell "A–list films" with "B–list films" to independent theater companies. Studios were able to guarantee
a profit from B–list films because they were being charged a flat rate with
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34. Film Noir Essay
Rich blacks, dark shadows spread across the detectives face and dark roads slicked with rain. These are the hallmark elements of film noir but what is
it? Merriam Webster dictionary defines film noir as, "A type of crime film featuring cynical malevolent characters in a sleazy setting and an ominous
atmosphere that is conveyed by shadowy photography and foreboding background music; also: a film of this type. (Merriam Webster). But, it goes a
little bit deeper than that. Why, Encyclopedia Britannica defines it as "style of filmmaking characterized by elements such as cynical heroes, stark
lighting effects, frequent use of flashbacks, intricate plots, and an underlying existentialist philosophy" (Encyclopedia Britannica). Film critics and
theorists ... Show more content on Helpwriting.net ...
Their deep, rich blacks only truly accomplished in black and white film and through low–key lighting characterized Noir films. J A Place and L S
Peterson discuss low–key lighting in their piece "Some Visual Motifs ofFilm Noir." They state:
Noir lighting is "low–key." The ratio of key to fill light is great, creating areas of high contrast and rich, black shadows. Unlike the even illumination of
high–key lighting which seeks to display attractively all areas of the frame, the low–key noir style opposed light and dark, hiding faces, rooms urban
landscapes–and, by extension, motivations and true character–in shadow and darkness which carry connotation of the mysterious and the unknown.
(Place, Peterson p. 1)
Chinatown and Polanski use this lighting to give the impression that it was shot in the 40s but in full color. Truly the lighting is what sells Chinatown
as noir and not just a detective story from the 70s. Examples of this lighting can be found in Gittes office when he talking with the imposter Mrs.
Mulwray and on the street when is nose is slit by the henchmen sent to shut him up. The world of Chinatown is a dark place and the lighting of the film
helps illuminate that noir style despite the fact that the film is shot in color making by definition
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35. Movie Analysis : ' Noirs '
Film noirs are unique because the viewer experiences the film in a special type of way that is different from typical comedy, romantic, or action films
where a person actually sympathizes with the character and hopes everything turns out well for the people in the end. Film noirs focus on themes such
as doom, darkness, death, and failure. The characters in film noirs are usually flawed and unlikable, as they act hopeless and unexcitable even when
things are going well or as planned. Additionally, the characters lack a hopeful future and usually spend their time narrating about their past that led
them to their imminent doom. In typical Hollywood films, the viewer expects the film to have a happy ending. However, film noirs are
unconventional in that the ending is almost never satisfying. Since film noirs were born in Hollywood, Los Angeles has played a larger role in many
film noirs. The city is often the setting of film noirs because its streets, lighting, and buildings often provide an ideal location to depict the dark themes
and unconventional styles that noirs regularly convey. Since many of the films take place in Los Angeles, they usually portray the city in a particular
light, expressing ideas about the city that may or may not be true.
The term "film noir" was coined in the mid 1940's when American films started emerging in Europe, post Nazi occupation. The new Hollywood films
were not available in France during Nazi occupation, so in 1946, the films began
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36. Film Noir Research Paper
This essay aims to discuss the origins and traits of film–noir. The characteristics of film noir will be developed through methods of questioning,
debating and arguing, in order to gain an understanding and knowledge of the characteristics of film noir.
"We could make the case, as many critics have done, that film noir is, in fact, not a genre at all but merely a particular stylistic inflection of a crime
drama." (Nelmes, 2012.194)
Film noir is not easily defined. However, the actual words came about from France and the term means 'Black Cinema'. The term was used to
describe certain Hollywood films that were saturated with darkness and had not been seen before by audiences. It sits on a controversy over its place
as a genre as it can also ... Show more content on Helpwriting.net ...
This brings the opening for a trademark element of Film noir , the femme fatal. "here are many examples of masochistic males exploited by ruthless
women in the 1940s and 1950s." ( Mayer and McDonald, 2007, 117). Fatal Attraction (1987) boasts high conventions of the film noir genre, such as the
trait of the virtuous redeemer vs. the femme fatal. In fatal attraction there is a strong contrast between the two characters of the femme fatal (Alex) and
the virtuous redeemer (Beth), as Alex is blonde, single –career guided, a devilish diva and is portrayed as Dan's equal (Beth's husband) due to the
clothing, masculine name and camera angles. Alex the femme fatal conveys classic characteristic femme fatal traits as she is childless, dangerous, and
seductive and also challenges family and social order. Beth is then seen as boring, childbearing and innocent. These traits all lead to the weakness of the
typical noir male character where he sleeps with the femme fatal. The femme fatal character is the most dangerous; he outer beauty covers her wicked
thoughts. In the Maltese falcon and double indemnity the femme fatal characters used their looks through sexual ambiguities to seduce Walter and
Sam. When Walter first stepped into Dietrichsons home the flirtatious Phyllis immediately welcomed him "Phyllis (in a robe): I'm Mrs. Dietrichson. Is
there anything I can
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37. Memento Film Noir
Film noir. Classic and neo Noir
A black and white phenomenon known as film noir was a style of cinematography introduced by French critics in 1946. The popularity of the style
was inevitable. The style started to introduce just before U.S entered World War II but it didn't developed fully until the late stages of World War.
In the 1940s during the release of the style, the world was facing a difficult time, World War II and the great depression prior to baby boom had
given the society a depressed and bleak view of the world. The classic films noir manage to mirror the theme as the society and use of dark theme was
indeed matching the situation in that era.
One document that had a tremendous influence on the way films were produced in the ... Show more content on Helpwriting.net ...
It is found later in the film that she had done the same thing before to Mr. Dietrichson's wife. The femme fatal character is portrayed in film noir and
uses her beauty and sexuality to take advantage of the male protagonist in the film.
Looking back at Memento Natalie, the femme fatal, takes advantage of Leonard's condition and used him. Leonard has short memory loss and forgets
everything after the death of his wife. Natalie uses him by taking advantage of his condition and makes him to kill her husband.
Similar characteristics can be seen in the movie The Third Man 1999 and L.A Confidential 1997. Characteristics like the use of voice–over narration,
complex plot and femme fatal.
The audience positioning has also changed from the classic period to the more recent period. For instance looking at the character femme fetale in the
classic film Double Indemnity", the audience in positions to view the character as an evil and hated person, however in the more recent film noir L.A
Confidential, the audience is positioned to view the character as a very caring and nice person. Neo–noir films have changed some elements of the
films noir for the good, and they are trying to extend the
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38. Film Noir Research Paper
Film noir– meaning "black film" or "dark film" in French– is an established genre of film which normally comprises the elements of crime, mystery,
and drama. These films were produced from the early 1940s to the late 1950s.
Before the term "film noir" was coined by film critics, these pictures were referred to as "melodramas". They were dark, bold, adult–oriented. Movie
audiences responded to them with excitement, as did writers and directors, eager to bring more of these stories to Hollywood.
Film noir is typically characterized by its unique visual style. They are normally in black and white, with low–key lighting, imbalanced composition,
and the use of extreme high or low camera angles. Other techniques that can be noticed include the
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39. Chinatown Film Noir
The genre of film noir was first acknowledged in France for its distinguishable darkness and its critic of social norms through nontraditional narratives.
In Chinatown, Roman Polanski effectively utilizes many of the thematic and stylistic devices commonly associated with the neo–noir film genre. The
objective of this essay is to critically discuss these devices employed by Polanski in order to reveal some of the subtle complexities that are embedded
within the cinematic fabric of the film, Chinatown, that makes it undoubtedly apart of the neo–noir film genre. The genre and style of film noir was first
made between 1941 and 1958 (Spicer, 2002). This timeframe is considered the classic film noir period. The sub–genre of noir film is neo–noir ... Show
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Mulwray and as he proceeds to investigate Hollis Mulwray. As Jake stalks Mr. Mulwray in search of evidence there is an interesting composition
of camera angles and frames used by Polanski. Mr. Mulwray is framed within a frame a few times in Jake Gittes' rear view mirror, binoculars, and
within the lens of his camera. This creates a sense of confinement and entrapment. It poses the question, what is Mr. Mulwray confined by? It
could be that the fact that he is the only one that truly knows the truth and in turn he is bound by that truth. It could also be that Polanski is
suggesting that we are confining Hollis Mulwray by imposing our preconceived notions of what he appears to be doing as Jake seemingly
uncovers that Mr. Mulwray is having an affair. Mr. Mulwray may be considered the only "good guy" as the plot develops. As the truth unfolds, he is
portrayed to blameless in all of the sinister drama that is revealed, but yet he ends up dead anyway. This is a direct counter narrative to the traditional
narrative that insists there can be a faultless hero that saves the day or that a good guy can come out on top. Roman Polanski is exclaiming, "No he
can't!" He creates this ambiguity by using this stylistic device of oblique camera angles to get our attention. Mr. Mulwray has no lines in this film, yet
from this we get the sense that he is important beyond the fact that his death prompts this trying investigation. He is in fact, our
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