PPT-Film Noir

Keenan Parra Beverly Ramos Vivek Reddy Chris Ruiz Daniel Yi History of Film Noir French phrase meaning black film Film Noir was identified in 1946 following World War II and the German occupation of France. Charles . Higham. and Joel Greenberg. ‘. Noir . Cinema’ (1968). And Billy Wilder’s . Double Indemnity. (1944). Noir . ambience: a dark street in the early morning hour; a dark street washed with a sudden downpour; haloes on lamps; a neon sign across the street; a man waiting to murder or be murdered. Context of forties. Disillusionment with American Dream – depression, war, etc. Gender issues. Hays code. German and Eastern European influence. Edward Hopper images of American life. Other aspects of Forties Noir. Today. :. What is the . film noir . genre?. Start watching “Gaslight”. Film Noir. A term used post WWII to describe early 1940s movies that were cynical and had dark themes. French for “black cinema”. Comparative Study. American Film – . Comparative Study. Context. Why are the classic noir films obsessed with the femme fatale?. Why are the male protagonists usually loners?. Why is the look of the films so stylised?. Films of the 1940s and the genre of film noir. Films during this time were often dramatic, melodramatic, or considered a film noir. Other genres like the musical and comedies were around still too.. WWII influenced what was made in Hollywood since it was a dark time in the US and films reflected it.. Victor Hsiao, Stephen Huang, Kevin Wang. What is Film Noir?. Film Noir – Black Film or Cinema. Coined by French film critics. Nino Frank (1946) started this term. Observed the ‘dark’, black, and downbeat look of American crime and detective films released in France in 1940’s. composing the scenes. Battleship Potemkin. - Sergei Eisenstein. Battleship Potemkin.  . is . a . 1925 silent film.  directed . by Sergei Eisenstein.  . . It . presents a dramatized version of . the mutiny . Made in the U.S.A.. American films produced by Hollywood in the 1930s and 40s. B movies. Common themes of loneliness, alienation, despair, violence. Character types: Anti social loner and femme fatale. -Two “sets” of American films after the ending of WWII:. Nostalgic film: old myths promulgated by earlier films: ideas of . nostalgia. , principles of self-sufficiency and . manifest destiny. , Jeffersonian . Looking at what scares us. Defining thrillers. Thrillers have the fear and concept of danger, but thrillers have a stronger sense of suspense and the chase.. Defining terror. Terror. is usually described as the feeling of dread and anticipation that . Today. :. What is the . film noir . genre?. Start watching “Gaslight”. Film Noir. A term used post WWII to describe early 1940s movies that were cynical and had dark themes. French for “black cinema”. Disillusionment with American Dream – depression, war, etc. Gender issues. Hays code. German and Eastern European influence. Edward Hopper images of American life. Other aspects of Forties Noir. Studio-bound look to the genre. Detective films. Banned in occupied countries during the war. Noir refers to the low key lighting. Disenchantment, Doom . Cynical times. Great Depression 1930’s. World War II. Atomic Warfare. McCarthyism . Lighting performs essential functions in Hollywood films, enhancing the glamour, clarifying the action, and intensifying the mood. Examining every facet of this understated art form, from the glowing backlights of the silent period to the shaded alleys of film noir, Patrick Keating affirms the role of Hollywood lighting as a distinct, compositional force.Closely analyzing Girl Shy (1924), Anna Karenina (1935), Only Angels Have Wings (1939), and T-Men (1947), along with other brilliant classics, Keating describes the unique problems posed by these films and the innovative ways cinematographers handled the challenge. Once dismissed as crank-turning laborers, these early cinematographers became skillful professional artists by carefully balancing the competing demands of story, studio, and star. Enhanced by more than one hundred illustrations, this volume counters the notion that style took a backseat to storytelling in Hollywood film, proving that the lighting practices of the studio era were anything but neutral, uniform, and invisible. Cinematographers were masters of multifunctionality and negotiation, honing their craft to achieve not only realistic fantasy but also pictorial artistry.