Film Noir Analysis

2012 Words9 Pages
The film noir is not a genre, as Raymond Durgnat pointed out quite accurately to the objection in the book "Hollywood in the Fortieth" by Hayyom and Greenberg (Hollywood in Soroca). This movie can not be defined in the same way as, for example, a western or gangster film: that is, through the scene of action and conflict. Rather, noir is determined by a combination of more elusive qualities of tone, image, intonation. First of all, "Noir", as a "black" film, is defined through the opposition to "gray" and "white" films. Like German expressionism and the French "new wave", the film noir represents a whole period in the history of cinema. In general, the concept of "film noir" refers to those Hollywood paintings of the forties and early fifties,…show more content…
I will try to talk about the film noir and its color basis (and it's all shades of black), and those culturological and stylistic elements of the noir, from the analysis of which any definition should begin. At the risk of speaking in the spirit of Arthur Knight, I still assume that in the forties in Hollywood there were four conditions that predetermined the appearance of films noir. (The danger of the method used by Arthur Knight in the book "The Lively of the Arts" is that he builds the history of cinema on the inheritance of structural analysis, and considering how miraculously interact and unite various artistic and social forces.) In my opinion, the film noir can be determined through each of the four-core phenomena or elements that in one way or another contributed to the creation of a unique "noir" tonality. In the twenties and thirties, Hollywood became a haven for many German expatriate filmmakers. Most of them managed to integrate into the American film industry. But to say that Hollywood underwent "Germanization", as some patriotic American critics feared, it would be wrong; rather, there is a danger of overestimating the role of German influence in the development of Hollywood…show more content…
Such strange economic snobbery still exists in film circles: a high-budget thrash is more deserving of attention than thrash low-budget, and praise to cheap films is considered as an expression of contempt (often intentional) for films of category "A". In the last decade, there has been a kind of revival of the film criticism in the United States, but the film noir continues to be overlooked by serious researchers. New criticism deals mainly with author (directing) cinema, which film noir has never been. Critics who are interested in author's films, first of all, write about the difference between directors, whereas the study of the film noir should show what is common between them. The deep reason for not paying attention to criticism of the noir is that it depends much more on the artistic structure than on sociology, and American critics have always lagged behind in comprehending the visual style. Like the heroes of the noir, its creators are more interested in style, not in ideas, whereas American critics are traditionally more interested in ideas and themes than in

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