Characteristics of Film Noir - Essay Example

Characteristics of Film Noir ic movies were attributed with the style of Film Noir which used astring of subdued, action and resolute offense movies (Hirsch 24). Film noir was popularized in 1940s and 1950s and used faint, unstable visual style borrowed from European 1920s movies. Dramatic stories frequently differentiated by misdeed and sexual exploitation were the heart of film noir and this brought out storytelling and film making aspects (24).Film noir scenery was established by high-order film makers to include a dark distressing visual disposition of post-war 1940s where offense, corruption and untrustworthy city streets were common.

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 facilitates the capturing of still shots or video in film noir. The camera setting should emphasis the contrast between the darker and lighter scenery thereby qualifying the scene as low lighting conditions of film noir. The light and camera lens in each shot should be used to augment the dark disposition (Hirsch 77). Camera placement comes with appropriate aperture selection.

High apertures like f/2.8 and f/5.6 work to capture subjects that are very close to the camera leaving the background out of spotlight and obscure while low apertures work best for distance details (Westcombe). Camera angles are reflected in film noir style using upwards and downward angles and tilting the camera to reinforce sinister mood. The Dutch tilt used in “The Third Man” film emphasizes distancing of the central character in unfamiliar surroundings (Westcombe).Accuracy to life is symbolized by film noir realism (Hirsch 56).

In film noir, realistic features are demonstrated through a character’s function of values while living in an indistinguishable, misdemeanor-driven, unethical and irrational real world. Realism is expressed through expressionist’s techniques and long-winded plotlines to obtain an excellent judgment of the world as it often appears (Westcombe). For instance, Vinsconti’s version of “The Postman always rings twice” by James Cain renamed “Ossessione” used realism as a link between the novel and relevant confined concerns.

Through expressionism and Hollywood noirs, formalism drew on using visual elements to express the story (Westcombe). Works citedHirsch, Foster. The Dark Side of the Screen: Film Noir. Cambridge, MA: Da Capo Press, 1981. Westcombe, Rodger. “What is this thing called film noir, anyway?” Big House film. N.p., 2003. Web. 28 Mar. 2013.