Influences Of Film Noir

Another convention of German Expressionism is a harsh set design. Jagged lines, winding roads, jolting architecture and looming archways are all classic pieces to an expressionist set design. And while the set design of Metropolis was extremely elaborate and still astonishing to this day, it does not truly fit the expressionist style. The city

The Fallen Angles also seems to pay homage to the film noir. According to Shin and Gallagher, film noir is to use a dark tone to tell thing (125). The film is set in the dark so a

In both Batman and the Dunkirk trailer Nolan forces us to think about who is the hero of the film and if they may also be the anti-hero. By having the British and French seemed trapped in every way it immediately makes them seem innocent. The trailer shows the enemy picking them off slowly but surely making the opposing side, Germans (the anti-heroes).However, saying that there is still no definite hero for Dunkirk. It is no longer possible, in the world created by Nolan, to have traditional heroes or villains. In many of Nolan’s films, a main character starts off with redeeming qualities only to be shown later as having evil qualities.

Now-a-days, Nosferatu isn’t considered horror, it is seen as more creepiness than anything else. It builds a little bit of terror opposed to moments of shock and fright. With German Expressionism, Nosferatu relies on odd sets and locations, heavy emotion, distorted styles, and sites that show inner turmoil. Themes like fantasy, madness, and inner fears are used to drive this movie which is different than what is used in modern expressionism movies which focus on the feeling of something rather then that literal thing. You can also see that with Murnau’s use of shadowing and angles, it appropriately portrays Count Orlok as more creepier then frightening, which is something we talk for granted and don’t really look for in filmmaking today.

He is the master of American horror yet with close examination he writing style is not so different from Wilde’s, just like Wilde he was partial to using aestheticism, his writing style is so often referred to his ‘addiction to adjectives’. Interestingly for Poe unlike so many of his contemporise, such as Ralph Waldo Emerson he wasn’t a ‘great American dream story writer’, whereas Emerson belonged to the mainstream national narrative, who saw American as new, full of potential and belonged to the transcendentalist movement, Poe illustrated America through a counter narrative. Emerson’s American offered hope, while Poe’s America offered death, decay and despair, not a new land but a decaying one; if Emerson looked outwards Poe most certainly looked inward. Poe’s narrative style can be seen as the great narrative of death and decay in America, but it is essential to examine why? Firstly modern readers can assume that a primary reason for Poe’s obsession with all things dead and decaying was because Poe suffered great death and loss in his life, described by Killis Campbell as “the saddest and strangest figure in American literary history”.

Weirdly enough, part of the immersion we want from a film is to make us not notice we are seeing a film. We like getting into its fictional world and looking through the characters’ eyes in a way that feels natural, even in the wildest and craziest stories. When we talk about great films, we get into abstract territory: technical, original, controversial, or just fun. Entertainment is key, and while a lot of times comedies lack deep characters and are filled with generic storylines and clichés, writer/director Wes Anderson comes to prove us all wrong. He presents his story in a way that it lets you know you are watching a work of fiction, more in the fashion of a moving painting than traditional film some might say.

In The Cask of Amontillado and The Tell-Tale Heart, Poe showcases a unique style of writing, rendering exceptional pieces of literature. Both stories are within the genres of horror and romanticism, however, Poe does not conform to these genres, as they were in the 19th century. Poe branches out of romanticism, and with horror, he developed gothic romanticism and pioneered psychological horror. Poe believed that art and literature were the most realistic and accurate depiction of individual human nature. Deviating from romanticism, which would have focused on external depictions of horror, he concentrated on internal depictions of the human mind which reveal a character’s internal struggle and therefore make his depictions more realistic and stylishly accurate.

The term Magischer Realism, translated as magic realism, was first used by German art critic Franz Roh in 1925 to refer to an alternative style known as New Objectivity. Around 1920s, artists looked around them, at the ordinary objects of life and painted to portray the strange and the uncanny in the aspects of everyday life. Their aim was to shake the established perception of reality, and their surroundings by announcing fantastic elements. Roh recognized magic realism’s accuracy in detail as well as its portrayal of magic in the rational world. He also claimed that magical realism in art finds a way to portray mystery found in everyday reality whereas in literature, it works ‘both within and against the aesthetic of realism.’

THE LOST FALCON IN FILM NOIR In written literature, writings that mention about crime is classified as “Noir Fiction”. From the second half of the 19th century, in cinematography, this genre is simulated as “Film Noir”. The audience will encounter with a crime throughout the film which is made by using this specific genre. Main characters in this genre are a criminal who is mostly a man, a female and a detective.

Bordwell and Thompson continue to explain how independent films was replaced with American films that were exported over developing into “Hollywood cinema dominated the market by the end of 1917.” France strived to emulate films through Hollywood production methods however was unsuccessful causing Impressionism to “emerge consisting of younger directors: Abel Gance, Louis Dellac…” It could be suggested that from Bordwell and Thompson that the war had a greater effect psychologically upon the younger generation who turned to art to express their inner turmoil. To recover its cinematic mission France needs “two elememts, organization and style, both of which aim at unity of expression, something that is practically a national instinct.” From this context is it identified that, in the same way as German Expressionism, French Impressionism was profoundly influence by the impact of the First World War developing the aesthetic theory grounded in the need for liberation from such future barbarism. Demonstrating the movement of Impressionism was to emulate the internal state of mind the audience would have experienced through that time.

Literary Device #3 — Symbolism Symbolism: “The frequent use of words, places, characters, or objects that mean something beyond what they are on a literal level.” Example: “For, the time was to come, when the scarecrows...should [heed] the idea of...hauling up men, to flare upon the darkness of their condition. But, the time was not come yet; and every wind that blew...shook the rags of the scarecrows in vain, for the birds, fine of song and feather, took no warning” (35). Dickens, A Tale of Two Cities Context:

No one can defeat Death There once was a young woman, who strived to be immortal, this caused her to bind herself away from the world for years. She decided one day that she had conquered death by changing her fate and goes to venture the town where she met a strange man, who insults her, filled with anger she decides to go after him where she faces death. A very similar situation is portrayed in “The Masque of the Red Death” with the character Prince Prospero, who believes that he has changed his fate by locking himself in his palace for years but this doesn’t end well for him as he faces death in his own home. In “The Masque of the Red Death”, written by Edgar Allen Poe, irony and symbolism to is used prove that death is inevitable.