Art1204 film noir

FILM NOIR THE DARK SIDE OF CINEMA

Professor Will Adams

THE ORIGIN OF FILM NOIR

THE ORIGIN OF FILM NOIR¨ The film noir genre was

born from crime films.


born from crime films.¨ Audiences grew bored

with the criminal protagonist of gangster films.




¨ They wanted more of a hero during war times





¨ It is a more intelligent genre: German Expressionists heavily influenced it with their mise-en-scene.






¨ Some film noir films have criminals & private eyes, but not all private eye or crime films are film noir.







¨ The majority of film noir were produced from 1945-ish to 1950-ish.







¨ The majority of film noir were produced from 1945-ish to 1950-ish.

¨ They became simplified and too common, but they did leave a lasting impression on later filmmakers.

QUALITIES OF FILM NOIR

QUALITIES OF FILM NOIR¨ There is no true

definition of what constitutes a film noir, yet many films that are considered film noir contain similar characteristics.

QUALITIES OF FILM NOIR¨ There is no true

definition of what constitutes a film noir, yet many films that are considered film noir contain similar characteristics.

¨ Pictured at right: Humphrey Bogart in The Maltese Falcon (1941)

THE SYMBOLISM OF CITIES

THE SYMBOLISM OF CITIES

THE SYMBOLISM OF CITIESCITIES


¨ Mean, nasty places where anything can happen at any moment



¨ Violence and crime occur often, usually randomly



¨ Violence and crime occur often, usually randomly

¨ Sex: strip clubs, bars, sultry women abound

¨ Cities are grimy, dirty places with lots of shadows.

THE MEANING OF FOG

THE MEANING OF FOG

THE MEANING OF FOGFOG


¨ In most film noir, fog obscures and renders a familiar environment both unclear and unknown.


¨ In most film noir, fog obscures and renders a familiar environment both unclear and unknown.

¨ Fog’s opacity is symbolic of the mysterious, unknowable quality of both fate and the future.

¨ Its presence usually foreshadows a turning point in the film’s plot.

THE SYMBOLISM OF WATER

THE SYMBOLISM OF WATER

THE SYMBOLISM OF WATERWATER


¨ What lies under the water?


¨ What lies under the water?¨ The audience can rarely see

below the water’s surface


¨ What lies under the water?¨ The audience can rarely see

below the water’s surface¨ This creates apprehension &

suspense on the viewer’s part.

¨ The water is often symbolically murky, choppy, or tumultuous

THE LIGHT OF FILM NOIR

THE LIGHT OF FILM NOIR¨ Film noir uses high contrast lighting with lots of

shadows.


shadows. ¨ Sometimes props are the only source of light


shadows. ¨ Sometimes props are the only source of light¨ This is called low key lighting.

Little key lighting (principle source of light) Mostly fill light (lights from side or back) Comedies and musicals usually use high key lighting to create uniform light with little contrast, film noir are the opposite of this effect.

LOW-KEY LIGHTING IN FILM NOIR

What low-key lighting effects do you see in this image of Humphrey Bogart in Casablanca (1942)?

LOW-KEY LIGHTING IN FILM NOIR

HIGH-KEY LIGHTING IN MUSICALS

HIGH-KEY LIGHTING IN MUSICALS

A still of the Brox Sisters in 1929’s Singing in the Rain. What do you notice about the lighting?

THE DARKNESS OF HUMANITY

THE DARKNESS OF HUMANITY¨ A film noir is designed to be a

world of paranoia and entrapment


world of paranoia and entrapment¨ Male protagonist feels trapped and

overwhelmed by a situation

Pickup on South Street (1953)



overwhelmed by a situation¨ Chance plays a larger role than

fate




overwhelmed by a situation¨ Chance plays a larger role than

fate¨ Heavy use of mise-en-scene to

show craziness and entrapment: Bars or lines in front or behind character Tight framing Canted shots Odd angles Slow tracking shots Backward tracking shots


THE FEMME FATALE

THE FEMME FATALE ¨ A “dangerous woman” who traps or

pulls the male protagonist (usually a common, everyday Joe) into a world of crime and danger.

Angelina Jolie in The Tourist (2010)



¨ She is sexy, dangerous, often filled with “mad love,” greed, or jealousy.





¨ Often, one or the other, maybe both, will die. Angelina Jolie in The Tourist (2010)

Famke Janssen in Goldeneye (1995)




¨ Often, one or the other, maybe both, will die.

¨ The Spider Woman: Why would the femme fatale be called this as well?

Ensnares the hero in a web of danger, lies and death!


Famke Janssen in Goldeneye (1995)

THE SYMBOLISM OF TRAVEL

THE SYMBOLISM OF TRAVELTRANSPORTATION¨ Automobiles, trains,

airplanes and boats are featured prominently in film noir.

The Tourist (2010)



¨ These means of conveyance may be alternately utilized as:

The Tourist (2010)




Weapons

The Tourist (2010)




WeaponsPlaces of isolation, or

The Tourist (2010)




WeaponsPlaces of isolation, orMeans of escape by the characters of the film.

Casablanca (1942)

The Tourist (2010)

THE MEANING OF COSTUME

THE MEANING OF COSTUMECLOTHING


¨ In film noir, a character’s costume or make-up design is meant to help illustrate his or her character to the audience


¨ In film noir, a character’s costume or make-up design is meant to help illustrate his or her character to the audience

¨ Film noir costumes may convey:

Wealth Innocence Guilt Danger Temptation

Alexis Bledel, Jamie King & Mickey Rourke in Sin City (2005)

THE ROLE OF GLASS

THE ROLE OF GLASSMIRRORS & GLASS


¨ Mirrors and glass – especially broken glass – figure centrally into many film noir.



¨ Broken shards of glass are sharp and dangerous, yet fragile – a metaphor for life in a film noir.

The Lady from Shanghai (1947)

Sin City (2005)




¨ Reflections in mirrors show that no one is exempt from reality, and that all characters are subject to the same rules.


Sin City (2005)




¨ Reflections in mirrors show that no one is exempt from reality, and that all characters are subject to the same rules.

¨ Mirrors – and the turning of a mirror’s image – create apprehension on the viewer’s part. Something or someone could be on the other side!


Sin City (2005)

POST-MODERN FILM NOIR

POST-MODERN FILM NOIR¨ Even though pure film noir died out,

its influence can still be seen today.


its influence can still be seen today.¨ Small details have been appropriated

from the classics (symbols, lighting, characters).




¨ Some feel film noir must be black and white, while others feel that high contrast can be achieved through use of vivid colors.




¨ Some feel film noir must be black and white, while others feel that high contrast can be achieved through use of vivid colors.

¨ Examples: Mulholland Drive (2001), Who Framed Roger Rabbit? (1988), The Tourist (2010) & The Black Dahlia (2006).

CASABLANCA

CASABLANCA

CASABLANCA¨ Released by Warner Bros. Studios in

1942


1942¨ Directed by Michael Curtiz


1942¨ Directed by Michael Curtiz ¨ Stars Humphrey Bogart & Ingrid

Bergman



Bergman¨ Set in Vichy-occupied World War II-

era Moroccan city of Casablanca



Bergman¨ Set in Vichy-occupied World War II-

era Moroccan city of Casablanca¨ Elements To Watch For:

Film noir character relationships Film noir mise-en-scene Sense of chance vs. fate Hero not wanting to be a hero

FIN

Internet

Art1204 film noir