Film noir Essays

  • Casablanca Film Noir Analysis

    1687 Words  | 7 Pages

    Those that believe Casablanca is not film noir usually perceive Film Noir as a genre. Noir is not a genre; Noir transcends genres and behaves more accurately as a style of cinema. As styles go, there can be variations of them as we see now with Post-Noir and Neo Noir, noir elements in a different time period of film technology which makes these films slightly different than the style of classic film noir. Themes of cynicism, impending doom, loss, jeopardy of life accompanied by visuals dominated

  • Female Gothic Film Noir Essay

    1517 Words  | 7 Pages

    Both the film noir and the female Gothic film cycles address the changing tides of the woman throughout the 1940s. As the social implications of wartime America emerged in cinema, exploration of the female’s role outside of the home and as a part of a moving and shaking society became key. Women began to emerge as highly competent and counter to their previous role as the subservient doe of a housewife. Females rose to status in their new role as the “working-woman,” embracing previously male-occupied

  • Film Noir Film Analysis

    817 Words  | 4 Pages

    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. Criminals are mostly coldblooded and ruthless. This behavior disorientation can

  • Femme False Characters In Film Noir

    2443 Words  | 10 Pages

    Throughout the film noir genre we have explored the role of the femme fatale characters who use their womanly charms as weapons to manipulate men and achieve some higher goal. There acting skills to appear vulnerable and helpless, along with her manipulative nature creates a cold hearted master over men, disguised as a damsel in distress, which our heroes cannot resist. This femme fatale character is portrayed perfectly by Norma Desmond in Billy Wilder’s film Sunset Boulevard but is also challenged

  • Negative Effects Of Film Noir

    1046 Words  | 5 Pages

    Film Noir: The dark side Background Film noirs came to prominence during and after the World War II and lasted through the ‘Golden Era’ till 1960. Film noir can be defined as a film movement and not just a genre of film because it emerged at the time of political disturbance (1941-1958) – Second World War and Cold War. Feelings of fear, mistrust, and ambiguity, loss of innocence, pessimism and paranoia are evident in noir films, reflecting the disruption and disillusionment prevalent in the American

  • Influences Of Film Noir

    812 Words  | 4 Pages

    know today as film noir can result in a convoluted mess. Film noir itself is not necessarily a genre in the same way the western or musical is. Film noir is characterized by shadowy cinematography, thematic elements, and a generally somber and cynical mood. The notable films generally accepted as the characteristically noir include White Heat, Double Indemnity, The Big Heat, Detective Story, The Maltese Falcon and several others. Modern viewers might be familiar with noir-inspired films like Chinatown

  • Sunset Boulevard Film Noir

    834 Words  | 4 Pages

    acclaimed, but darkest film noir story about Hollywood and what happens behind the scenes written by Billy Wilder. It shows the true deceitfulness, emptiness, the price of fame, greed, narcissism, and ambition it really takes to be an actor or actress during the 1950’s in Hollywood. Norma Desmond was one of the main characters and she showed viewers how easily they can perceive their characters on screen for their real life and get them twisted. In the 1950’s fans of the film wanted the actors to be

  • Hollywood In The Fortieth Film Noir Analysis

    2012 Words  | 9 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"

  • Double Indemnity Film Noir

    892 Words  | 4 Pages

    Why Should Double Indemnity Be Considered a Film Noir? Double Indemnity was published in 1944, directed by Billy Wilder. According to, film noir become popular during the 1940. Tim Dirks, writer and editor of, listed Double Indemnity as one of the greatest film noirs in history. There are many elements that classify Double Indemnity as a film noir, such as flashbacks, violence, dark settings, the dangers of what being in love could cause, and the list is endless. Double

  • La Confidential: Corruption In La Confidential Film

    760 Words  | 4 Pages

    LA confidential is as much a film noir as it is not a film noir, for one it is set in the 1950’s which is film noir era. Noir films are based corruption in urban settings so location of these films often consist of nighttime scenes, neon and busy cities and los angeles (the location of the film) is a perfect example of such. A city was chosen to host this film because film noir plays largely on the idea of loneliness and solitude and the setting of a big city allows just that where the male protagonist

  • North By Northwest Analysis

    1414 Words  | 6 Pages

    North by Northwest, is a 1959 American archetypal thriller film directed by auteur Alfred Hitchcock. This espionage neo-noir film follows protagonist Roger O.Thornhill who is mistaken for the fabricated George Kaplan. In an effort to clear his name, and demonstrate his guiltlessness, Thornhill is chased across the United States, and framed for the murder of U.N diplomat Lester Townsend. Thornhill is then forced to acquire Kaplan 's identity; whilst being confronted with a mysterious femme fatale

  • Double Indemnity Movie Analysis

    1081 Words  | 5 Pages

    Double Indemnity Double Indemnity is a 1944 film noir directed by Billy Wilder starring Fred MacMurray and Barbara Stanwyck. The film starts out by a successful insurance salesman returning to his office with a gunshot wound on his shoulder dictating a confession for his friend Barton Keyes, this starts the story off in flashback form. The flashback begins with Neff meeting Phyllis Dietrichson during a routine house call for her husband’s automobile insurance renewal, during this time Phyllis asks

  • Blade Runner Lighting Analysis

    719 Words  | 3 Pages

    Ridley Scott’s film Blade Runner is known for its incredible use of very low key lighting, the dark appearance of the film not only exemplifies the futuristic L.A city but also ties the film in with a modernized film noir style. The low key lighting in combination with the neon lights and signs creates a correlation between the light and the dark, this represents the conflict throughout the film between humanity and the replicants. Investigating the lighting throughout the scene when Deckard, played

  • Casablanca Femme Fatale Analysis

    1546 Words  | 7 Pages

    himself into a slight stupor to cope with the grand entrance of the beautiful, yet mysterious Ilsa Lund. These two mentioned above are former lovers and the two main characters of the 1942 film Casablanca. Why Rick speaks these words with despair is because of Ilsa Lund, whose archetype is common in most if not all noir movies. This archetype is known as the femme fatale which literally translates to, fatal woman. The particular focus of the femme fatale and its characteristics is Ilsa Lund, female star

  • Scarlet Street Film Analysis

    1299 Words  | 6 Pages

    In the year 1945 Fritz Lang directed Scarlet Street, a truly classical film noir. The screenplay consists of two criminals who take advantage of a middle-aged painter in order to steal his artwork. Absolutely one of the finest of all film noirs, Fritz Lang’s Scarlet Street is a remake of Jean Renoir’s La Chienne. These two films share essentially the same structure. “The ineffectual nebbishy cashier and protagonist, Maurice Legrand in La Chienne and Chris Cross in Scarlet Street, demonstrates a level

  • Dynamic Bond In The Film Noir: The Coen Brothers

    897 Words  | 4 Pages

    The Coen Brothers Ethan and Joel, were a dynamic duo who had influential effects on the film scene using many techniques of film noir. The Coen Brothers are most known for their crime and unravelling of character films often using techniques such as chiaroscuro, moving shots and quick character changes. The Brothers produced their first film in 1984 sparking their careers into film and especially film noir. Element one - Music A significant technique the Coen Brothers often use to add tension

  • Essay On Double Indemnity

    1504 Words  | 7 Pages

    Said: Mise-en-scene and Sound in Double Indemnity Film Noir is a genre filled with many interesting conventions. The films within Film Noir use narration, performance, lighting, and blocking in order to tell tales of murder, betrayal, and questionable morals. In this sense, Double Indemnity is a classic Film Noir film. It is a story of two ill-fated lovers lured by lust and greed to commit a heinous act: murder. The main focus of the film (and of this essay) is on Walter Neff and Phyllis Dietrichson

  • Gattaca Human Spirit Analysis

    894 Words  | 4 Pages

    The 1997 science fiction film ‘Gattaca,’ directed by Andrew Niccol delves into the concept that the human spirit will prevail despite an uncaring fate. Protagonist Vincent Freeman represents powerful notions of perseverance and humanity, and through his victory epitomizes humanity’s triumph over science. Niccol implies that all children deemed Valid do not possess the trait of the human spirit and consequently have no true dreams nor aspirations. Niccol infers that when one knows their predetermined

  • Brigid O Shaughnessy In The Maltese Falcon

    1316 Words  | 6 Pages

    “When you're slapped, you'll take it and like it.” It’s not enough to know one, or even two of these points unless we know all three we shall be unable to arouse the other emotions. - Aristotle, and George Alexander Kennedy The Maltese Falcon written by Dashiell Hammett is a great example of Aristotelian logic’s argumentative style: ethos, pathos, deduction and even induction. Sam Spade used inductive and deductive reasoning and did it in more of an ethos style. Whereas, Brigid O'Shaughnessy was

  • The Tell Tale Heart Film Analysis

    1166 Words  | 5 Pages

    Reed’s songs, as only one man speaks for the entire tale and thus gives the impression to be all the characters. Simplification, or elision, is an inevitable process which every adapter must apply to their work, otherwise they risk ending up with a film like Erich von Stroheim’s adaptation of Frank Norris’ McTeague. Indeed,