Film Noir [genre studies]
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This document discusses the history and characteristics of film noir. It describes how the genre developed in the 1940s and 1950s, influenced by German Expressionism and American crime fiction. Key characteristics include bleak storylines about morally ambiguous characters, use of flashbacks and voiceovers, and expressionistic cinematography using low-key lighting and shadowy sets. Examples discussed include Double Indemnity, In a Lonely Place, and Citizen Kane. The document also covers the end of the studio system practice of block-booking in 1948 and the emergence of neo-noir films influenced by the original genre.
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![FILM NOIR
Double Indemnity
(1944)
Director: Billy Wilder
Third film
- Femme Fatale
housewife [Phyllis]
- Insurance salesman
[Walter]
- Their calculated scheme
to murder her husband
for purposes of lustful
desire and financial gain.
- Double indemnity clause
in accident policy,
ultimately fails.
- Fraudulent, almost
perfect crime leads to
guilt, suspicion, betrayal,
duplicity, and thrilling
intrigue.
"PARAMOUNT'S
SHOCKING,
SUSPENSE-FILLED
MASTERPIECE OF
LOVE...AND
MURDER."Story was based on real-life crime
in 1972 NY
NOMINATED IN
SEVEN
CATEGORIES](https://image.slidesharecdn.com/filmnoirasatuurskeim-171203162231/85/Film-Noir-genre-studies-20-320.jpg)
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![FILM NOIR
In a Lonely Place
(1950)
Director: Nicholas Ray
Fourth film
- Lonely Hollywood screenwriter, hot-tempered
alcoholic
[Dixon Steele]
- Planning to adapt a trashy best-selling novel
- [Mildred Atkinson]
invited to his apartment to provide a synopsis of
the book he hadn't read.
- she was found brutally murdered the next
morning.
- he became the prime suspect in a murder case.
- femme fatale, neighbor, an aspiring actress
hiding from an ex-lover [Laurel Gray]
- suspicious of his disintegrating and violent self
"I was born when she
kissed me. I died when
she left me. I lived a
few weeks while she
loved me."
film's motif](https://image.slidesharecdn.com/filmnoirasatuurskeim-171203162231/85/Film-Noir-genre-studies-22-320.jpg)
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Film Noir [genre studies]
- 2. WILLIAM WADSWORTH HODKINSON The Man Who Invented
- 3. 1914 11 film rental bureaus merged WILLIAM WADSWORTH HODKINSON the first U.S wide distributor of feature films
- 4. WILLIAM WADSWORTH HODKINSON 1916 ADOLPH ZUKOR Famous Players Film Company JESSE L. LASKY Jesse L. Lasky Feature Play Company
- 5. a white or black man married to an American Indian woman 1914 JESSE L. LASKY Jesse L. Lasky Feature Play Company
- 6. the concept of BLOCK- BOOKING perfected by - PARAMOUNT - ADOLPH ZUKOR 1930
- 7. Alist movies BLOCK- BOOKING Blist movies EXHIBITORS Flat rate the signature practice of the studio era up to 100 films Blind Bidding STARS
- 8. BLOCK- BOOKING Blist movies Westerns Sci-Fi Horror Gangster film Crime Stories DEMAND FILM NOIR
- 9. 1948, the Supreme Court ordered the elimination of block booking and demanded a separation of theater holdings from production and distribution. BLOCK- BOOKING
- 10. FILM NOIR Nino Frank 1946 (Black film or cinema) French film critics
- 11. FILM NOIR 1940 Development of the style 1960 Prominent in Post-war era UntilFilms reflected tension, insecurities of the time period
- 12. FILM NOIR CINEMATIC ORIGINS noir rooted in German Expressionism The Cabinet of Dr. Caligari (1920, Germ.) Dark- Dramatic- Murder- Emotion
- 14. FILM NOIR CINEMATIC ORIGINS American pulp novels and crime fiction
- 15. FILM NOIR Characteristics and Conventions MOOD Melancholy Alienation Bleakness Disillusionment Pessimism Ambiguity Moral corruption Evil Guilt Desperation Paranoia
- 16. FILM NOIR Characteristics and Conventions STORYLINE S Non-linear Maze-like narrative Twisting Flashbacks Witty sharp dialogue Reflective Confessional First-person narration voice-over Driven by their past or by human weakness to repeat former mistakes. Everyman, victim to temptation or was framed Cynical perspective on life
- 17. FILM NOIR Characteristics and Conventions STORYLINE S Femme Fatale (fatal woman) Tries to achieve her hidden purpose by using feminine wiles such as beauty, charm, and sexual allure. AFemme Fatale dutiful reliable trustworthy loving
- 18. STORYLINE S Two Femme Fatale archetypes AFemme Fatale dutiful reliable trustworthy loving BFemme Fatale mysterious double-crossing gorgeous unloving predatory tough-sweet unreliable irresponsible manipulative desperate
- 19. FILM NOIR Characteristics and Conventions DIRECTORS Orson Welles - Citizen Kane in 1941 Touch of Evil in 1958 John Huston The Maltese Falcon 1941 The Asphalt Jungle 1950 Billy Wilder Double Indemnity 1944 Sunset Boulevard 1950 Edgar Ulmer, Douglas Sirk, Robert Siodmak, Fritz Lang, Otto Preminger, Henry Hathaway, Howard Hawks, Nicholas Ray
- 20. FILM NOIR Double Indemnity (1944) Director: Billy Wilder Third film - Femme Fatale housewife [Phyllis] - Insurance salesman [Walter] - Their calculated scheme to murder her husband for purposes of lustful desire and financial gain. - Double indemnity clause in accident policy, ultimately fails. - Fraudulent, almost perfect crime leads to guilt, suspicion, betrayal, duplicity, and thrilling intrigue. "PARAMOUNT'S SHOCKING, SUSPENSE-FILLED MASTERPIECE OF LOVE...AND MURDER."Story was based on real-life crime in 1972 NY NOMINATED IN SEVEN CATEGORIES
- 22. FILM NOIR In a Lonely Place (1950) Director: Nicholas Ray Fourth film - Lonely Hollywood screenwriter, hot-tempered alcoholic [Dixon Steele] - Planning to adapt a trashy best-selling novel - [Mildred Atkinson] invited to his apartment to provide a synopsis of the book he hadn't read. - she was found brutally murdered the next morning. - he became the prime suspect in a murder case. - femme fatale, neighbor, an aspiring actress hiding from an ex-lover [Laurel Gray] - suspicious of his disintegrating and violent self "I was born when she kissed me. I died when she left me. I lived a few weeks while she loved me." film's motif
- 24. FILM NOIR Citizen Kane (1941) Director: Orson Welles First Film - Reporter is assigned to decipher newspaper magnate Charles Foster Kane’s dying words, his investigation gradually reveals the fascinating portrait of a complex man who rose from obscurity to staggering heights. - Through memories of Kane's friends and colleagues, the reporter fears he may never penetrate the mystery of the elusive man's final word, "Rosebud." Best Original Screenplay
- 26. FILM NOIRCharacteristics and Conventions CINEMATOGRAPHY Setting: interiors venetian-blinded windows claustrophobic
- 27. FILM NOIRCharacteristics and Conventions CINEMATOGRAPHY Setting: interiors venetian-blinded windows claustrophobic
- 28. FILM NOIRCharacteristics and Conventions CINEMATOGRAPHY Setting: interiors venetian-blinded windows claustrophobic
- 29. FILM NOIRCharacteristics and Conventions CINEMATOGRAPHY Setting: Exteriors night scenes urban deep shadows flashing neon lights low key lighting
- 30. FILM NOIRCharacteristics and Conventions CINEMATOGRAPHY expressionistic lighting deep-focus jarring editing juxtaposition of elements ominous shadows skewed camera angles smoke unbalanced or moody compositions
- 31. FILM NOIR Characteristics and Conventions CINEMATOGRAPHY Often, war-time scarcities were the reason for the reduced budgets and shadowy, stark sets of B-pictures and film noir. STORYLINE S MOOD
- 32. NEO-NOIR Director: Nicolas Winding Refn