Film Noir Analysis

Film Noir Analysis
With its tone and specific style, Film Noir has become one of the prominent elements that helped
shape the American cinema. Within film noir, drama, romance, thriller, and crime are the main
genres that can be seen in noir films. From all this amalgamation of genres, the topic of whether film
noir is a genre or not does seem interesting, but it is particularly the themes and the style that seems
to generate this conversation. Film noir itself can be seen as more of a film movement than a genre.
Paul Schrader mentions how it presents a "specific period of film history, portraying the world of
dark, slick city streets, crime, and corruption." If this were to be about genres, this description would
generally belong in the crime category. Noir ... Show more content on Helpwriting.net ...
These include cars, cafes, offices, and trains, and the films would typically come up with public
places in order to emphasize how crimes can happen to anyone at any time and place. The intro of
Robert Siodmak's 1946 film "The Killers" places two hitmen in a diner with a customer and two
workers, and the intensity ensues right when the hitmen warn them of their violence, until Swede is
killed. In "Detour," the café was presented as a place of reflection for the main character, but "The
Killers" presents it as a more dangerous place. The movie does not start straight from the diner, but
the outdoor area just right outside the diner, and that establishes the tone and the state of that part of
town, with obscure lights, silhouettes of the hitmen, night setting, and fog. Even in such a confined
space like a diner, certain imagery like the hitmen and their guns would elicit feeling of intimidation
and tension from the rest of the characters and also the audience, especially when one of the hitmen
hides behind the window and sticks his gun out, just in case Swede enters. The imagery of places
and characters thus reminds the viewers that the outward appearances are not what they actually
seem, and one would have to look deeply to understand the full
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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 naïve 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

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–scène. 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
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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–scène.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

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 Helpwriting.net ...
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

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

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 more content on Helpwriting.net ...
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

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
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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

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 the femme 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

Comparison of Noir and Neo Noir Themes in the Films Double...
The attempt of this overview is to discuss the similarities, differences and influences of Noir Film
and Neo Noir Film and analyzed how they have evolved taking Double Indemnity and Chinatown
and as generic examples.To achieve this attempt, first of all. It is important to know what it is
considered Noir Film, when it began and how this was developed into the Neo–Noir cinema. It is
considered Noir Cinema those made between 1940 and almost 1960 in which very inner
characteristics were the individual against the whole, nihilism, dark environment, unusual
prospective, shadowed protagonist... The main character use to make a bad choice that would mark
him forever like gangster activities (antagonistic behavior) or getting trapped by a femme fatale as is
another classic element (like in Double Indemnity). Not all of these elements are always involved
but surely some of them. Noir Cinema was developed under a particular style of high contrast dark–
light too that was very identifiable. Some examples of this period are Touch of Evil or The big
Sleep. Some European Directors of Photography like Michael Curtiz or Fritz Lang helped out in the
early grown up to develop this shadowy lighting cliché that still inspires dark stories. Classical Noir
Lighting *The Maltese Falcon is considered the first Noir film (1941) *John Allton is considered the
main Director of Photography of Noir Film

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

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
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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

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
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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 of Film 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

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

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

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

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 noir film, 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
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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

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

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 content on Helpwriting.net ...
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

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. We want 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

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
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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

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

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

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

Neo-Black Film Noir
Through the smoky, shadow ridden alleyways and the under the evanescent glow through venetian
blinds, the noir period arose. Film Noir – translating from French to 'Black Film' – came to light in
1941–58, coined in 1946 by French film critics; Jean Pierre Cartier and Nino Frank. Film Noir is a
cinematic idiom used to describe the fatalistic and pessimistic tastes seen within the Hollywood
films. Film Noir has constantly been on the cards as to whether or not its suffices as a genre or if it
is a style of film. Neo–Noir, translated to New–Black, began to unfold mid–way into the Cold War.
Neo–Noir is seen in the eyes of viewers as a more modern and hardboiled take on the classic film
noir period. Key aspects seen within the Film noir is the Femme ... Show more content on
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Films Noir were seen to be glorifying crime and risqué activities between the stars of the films and
was deemed unacceptable to be displayed to audiences. This influenced the Hays Code to be
brought about in 1930. The Hays Code, named after Will H. Hays, president of the Motion Picture
Producers and Distributors of America (MPPDA), was put into use to provide wholesome
entertainment and the censorship of taboo subjects; Drugs and alcohol, homosexuality and the
planning and success of a crime in order the prevent the outrage of public moralists. Outside of the
classic noir period, 1940–1950, sparked Neo–Noir, a stage undecided if it is an extension of the
definitive Film Noir period or just using the obsolete techniques of the classic noir period in the
new, modernised films of the twenty first century. Neo Noir films are seen to be a much less
restricted version of the classic film noir period, not shying from what they show. In 1997 Neo–Noir
film LA Confidential, it doesn't shy from the nudity, alcohol abuse and other expletives shown
within its 138 minutes. Set in the 1950s, LA Confidential is a tale about the corruption that grows
within the Los Angeles Police Department. The immoral, callous and straight–laced behaviors of
three cops are the key to solving the heinous, bloodthirsty massacre and death of fellow cop in their

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

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

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 and Film 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

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
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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 classic genre 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

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,

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

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

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

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

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

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

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

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, ... Show more content on
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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

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. Although
Film Noir can fit into many categories of genres like: crime genre, thriller,

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

Film Noir Analysis

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Film Noir Analysis