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Obscurity and profound black scenery reflected the sinister face of American dream (Westcombe). Film noir or black film referred to characteristic movies well thought-out to be apprehension pictures, murder mystery or misdemeanor melodramas (Hirsch 71). The late 1940s saw Hollywood put in place standard style to depict cops, lawbreakers and private detectives universally.
Film noir also has a romantic recounting of love. Romantic narration is evident in films like “Postman Always Rings Twice” and “Double Indemnity” and creates the mood of an irretrievable past, a premeditated past and all-enveloping despondency (Hirsch 168).
Dialogue is an essential element of film noir and it is usually brusque. Dialogue is brought about by characters who contemptuously or straightforwardly express themselves (Hirsch 74). Film noir characters often make wisecracks like in Mitchum in 1947’s “Out of the Past”. The wisecracker’s daring witticism and angry replies are risky and hilarious. For the audience, these aspects are impressive since the character, despite knowing they have messed up, cares less solely depending on their fast tongues and wits for rescue.
Lighting in film noir scenes does not just involve light addition (Westcombe). Instead, lighting is used to form shadows which to the audience depict that danger prowls around the corner. Lighting in film noir should come from the sides as this varies the intensity across the person and creates depth to the subject through appending dimension (Hirsch 84). An exception of side lighting in film noir is during a criminal’s interrogation when the light can be bright directly on him or her. In addition, creation of sharp and discrete shadows is created using a single point of light. Sharp discrete shadows are used by audience to construct comprehensible mental images of the objects casting the shadows (85).
Distinct approach to camera settings
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Right from the birth of the 20th century, the US Congress had begun to consciously mold its economic stratum into a shock proof imperialist extravaganza. This surmounting imperialist approach towards the global economy, made USA as the immediate ‘universal bone of contention’.
Nino Frank coined the term film noir in 1946. Classic film noir is related to the expressionism movement, particularly German expressionism, which is characterised with an extensive use of technical devices and artistic approach, where the personality of the director is predominantly palpable (Luhr 2012, p.56).
To formulate my own understanding and eventually my own definition about Noir, it would be necessary to put in perspective on how it started and eventually developed. The common consensus of Noir films beginning was in 1941 with the film "The Maltese Falcon".
The period of film noir, the 40s and early 50s, was also the time when Freudian influence on psychological studies was strident. The use of voice-overs then, became a way of representing the psychological, inner realm of the characters that could not otherwise be captured in the plot.
Film Noir “Film Noir” is a French term, which literally means ‘Black Film’. It encompassed classic Hollywood crime dramas that were made during the 40’s and 50’s. These movies had a major element of cynicism in them and character drives often were sexual in nature.
In order to be able to understand media studies better in general, and in particular that of film genre, in this paper we are going to thoroughly address and examine the different structural definitions of film genres, and as well any and all other key and related issues.
The author states that the trend of using less glamorous male characters was explained as being necessary to offset the shortage of eligible men as all able bodied ones were drafted to serve in the Army. This was an important accommodation as the new types of roles were written to pair the beautiful actresses with older men.
characters are also almost generic, the dangerously alluring deadly female (femme fatale), the hard boiled police detective and the anti-hero constantly surrounded by gun wielding thugs. Even with all these, it is the underlying visual styles that employ the creative use of
He continues to argue that the distinctive noir male agonist is weak, unstable, confused and ineffectual. They are damaged men suffering from a range of psychological neuroses and unable to figure out and resolve the problems they often face. Film noir will always
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