Life in the Dark Nelson IB Film Studies. Film Noir: What is it? "A term coined by French critics to...
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Transcript of Life in the Dark Nelson IB Film Studies. Film Noir: What is it? "A term coined by French critics to...
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Life in the Dark
Nelson
IB Film Studies
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Film Noir: What is it?
• "A term coined by French critics to describe a type of film that is characterized by its ____________ tone and ___________________ mood." (The Film Encyclopedia, Third Edition, by Ephraim Katz).
• Literally means “black film”• Films of the 40’s and 50’s that portrayed the
world of _____________________________________.
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Q: Is film noir a genre?
A: No, It’s a ________ of filmmaking commonly found in crime, mystery, or thriller genres
Rather than PLOT being supreme, it is TONE and MOOD cynicism (selfish motivation/assigning blame) ______________(looking to the past) darkness ____________________ (crooked cops, double-crossers) _____________ themes hopelessness
. . . which led to a harsh uncomplimentary look at American life
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Influences
I. War and Postwar Disillusionment
II. Postwar Realism
III. German Expatriates
IV. The Hard-Boiled School of Writers
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Influences – Part 1
I. War and Postwar DisillusionmentA. _________________________________
B. _________________________________
C. _________________________________
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Influences– Part 2
II. Postwar RealismA. affected every country involved in WWII
B. ______________________
C. suited America’s mood and desire for more _______________
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Influences– Part 3
III. The German ExpatriatesA. Left Germany to escape Nazi control
B. John Alton, Fritz Lang, Otto Preminger, Billy Wilder, Robert Siodmak
C. ______________________________
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Influences– Part 4
IV. Hard-boiled TraditionA. _________________ “romanticism with
a protective shell”
B. Writers from _____________________
C. Protagonists lived out a narcissistic defeatist code
D. Ernest Hemmingway, Dashiell Hammett, Raymond Chandler, James M. Cain
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The Hard-boiled Detective
• Calvin & Hobbes – “Tracer Bullet”
Clip: The Maltese Falcon
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3 Phases
• Wartime (1941-1946) – _________________________________________________• Postwar realistic– crime in the streets,
_______________________________• Psychotic action & suicidal impulse (1949-
1953) root causes: ___________________________________________________• END– McCarthy, ___________, color
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Visual Motifs– Part 1
I. LightingA. ______________________________B. ______________________________ (less
soft focus)C. ______________________________D. ______________________________E. ___________________ highest contrastF. ______________________________
fatalistic, hopeless mood
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Low-key Lighting
• Out of the Past (1948) • The Big Combo (1955)
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Unique angles of throw
Out of the Past (1948)
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No Fill Light
• The Big Combo (1955)
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Equal Lighting on Setting and Char.
Clip: Call Northside 777Out of the Past (1948)
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“Night-for-night”
• Scarlet Street (1945) • Night and the City (1950)
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Visual Motifs– Part 2
• Cinematography– ___________________ Each char. equally
hopeless– Wide angle lenses for ______________
Clip: Touch of Evil
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Deep Focus
Undercurrent (1947) The Lady From Shanghai (1947)
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Visual Motifs– Part 3
• Mise-en-scene– Designed to ___________– Compositional balance w/in frame is often off
• World is ________________• Figures placed irregularly in frame• ________________ framing devices (doors, windows, metal
bedframes, shadows)• Objects in foreground characters less important • Objects take on importance by creating ______________________________________________________• Oblique & vertical lines (buildings, city streets, venetian
blinds) > horizontal ____________________• Water Freud again?!
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Internal Framing/Masking
• Touch of Evil (1958)
– Clausterphobia/ entrapment
• The Killing (1956)
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Internal Framing/Masking (cont.)
Second Chance (1953)
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Internal Framing/ Masking (frames)
Fallen Angel (1945)
stability vs. instability
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Compositional Balance with Objects
Laura
Unfair emphasis on femme fatale in portrait
• Sleep, My Love (1948)
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Compositional Balance with Mirrors
• Kiss Me Deadly (1955) • Lady from Shanghai
– Welles’ balance with fragmented “self” (id vs. ego) and femme fatale
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Oblique Angles
• D.O.A. (1950)
– Never “on the level”
• Raw Deal (1947)
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Visual Motifs– Part 4
III. Framing, Angles, & EditingA. Often withhold __________ spatially
disorienting
B. _____________ juxt. with extreme _________ fatalistic “rats in a maze” effect
C. Juxt. extreme distances and angles
D. __________________
E. Camera movement is minimal $$$ set-ups
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Unconventional Camera Angles
Touch of Evil (1958) Lady From Shanghai (1948)
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Dutch Angles
Pickup on South Street (1953)
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Effects of Visual Motifs
• No character has ________________
• _______________ become relative (both in shadow)
• _______________ constantly shifting
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War makes it all possible (sigh)
– Fast film– Lighter, hand-held cameras– Fast film– Magnetic stock for sound
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Narrative Motifs
Love of romantic narration (_____________) “temp perdu” – _______________
Complex chronological order ______________________________ Out of the Past, Double Indemnity, Memento, Pulp
Fiction ______________ denies effect of progress Flawed leading man “Femme fatale”
______________________________________________________________________________________
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Themes
• Upwardly mobile forces of the 30’s have ended; frontierism has turned to ________
____________________________
• Passion for the past and present, but also a ________________________
• No one can be trusted
• The world is unforgiving and hopeless
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Here’s what you’re looking for:
• _____________• _____________• _____________• _____________• _____________• _____________• _____________
What do you notice in this clip?
CLIP: Double Indemnity
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Important films to check out:
• The Maltese Falcon• T-Men• The Big Sleep• The Big Combo• Double Indemnity• Touch of Evil• The Postman Always Rings Twice• Out of the Past• In a Lonely Place • Sunset Boulevard
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Other Important Figures
Directors:Billy Wilder, Howard
Hawks, Orson Welles, Otto Preminger, Nicholas Ray, Robert Siodmak
Writers:Raymond Chandler,
Earnest Hemmingway, Daschel Hammett, John M. Cain
Actors:Humphrey Bogart, Robert
Mitchum, Lauren Bacall, Veronica Lake
Cinematographers:John Alton
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Hero, or Noirish Anti-hero? (Dun dun dun!!!)
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Works Cited
• http://www.midnightpalace.com/index.php?option=com_content&task=view&id=133&Itemid=54