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FILM NOIR THE DARK SIDE OF CINEMA
Professor Will Adams
THE ORIGIN OF FILM NOIR
THE ORIGIN OF FILM NOIR¨ The film noir genre was
born from crime films.
THE ORIGIN OF FILM NOIR¨ The film noir genre was
born from crime films.¨ Audiences grew bored
with the criminal protagonist of gangster films.
THE ORIGIN OF FILM NOIR¨ The film noir genre was
born from crime films.¨ Audiences grew bored
with the criminal protagonist of gangster films.
¨ They wanted more of a hero during war times
THE ORIGIN OF FILM NOIR¨ The film noir genre was
born from crime films.¨ Audiences grew bored
with the criminal protagonist of gangster films.
¨ They wanted more of a hero during war times
¨ It is a more intelligent genre: German Expressionists heavily influenced it with their mise-en-scene.
THE ORIGIN OF FILM NOIR¨ The film noir genre was
born from crime films.¨ Audiences grew bored
with the criminal protagonist of gangster films.
¨ They wanted more of a hero during war times
¨ It is a more intelligent genre: German Expressionists heavily influenced it with their mise-en-scene.
¨ Some film noir films have criminals & private eyes, but not all private eye or crime films are film noir.
THE ORIGIN OF FILM NOIR¨ The film noir genre was
born from crime films.¨ Audiences grew bored
with the criminal protagonist of gangster films.
¨ They wanted more of a hero during war times
¨ It is a more intelligent genre: German Expressionists heavily influenced it with their mise-en-scene.
¨ Some film noir films have criminals & private eyes, but not all private eye or crime films are film noir.
¨ The majority of film noir were produced from 1945-ish to 1950-ish.
THE ORIGIN OF FILM NOIR¨ The film noir genre was
born from crime films.¨ Audiences grew bored
with the criminal protagonist of gangster films.
¨ They wanted more of a hero during war times
¨ It is a more intelligent genre: German Expressionists heavily influenced it with their mise-en-scene.
¨ Some film noir films have criminals & private eyes, but not all private eye or crime films are film noir.
¨ The majority of film noir were produced from 1945-ish to 1950-ish.
¨ They became simplified and too common, but they did leave a lasting impression on later filmmakers.
QUALITIES OF FILM NOIR
QUALITIES OF FILM NOIR¨ There is no true
definition of what constitutes a film noir, yet many films that are considered film noir contain similar characteristics.
QUALITIES OF FILM NOIR¨ There is no true
definition of what constitutes a film noir, yet many films that are considered film noir contain similar characteristics.
¨ Pictured at right: Humphrey Bogart in The Maltese Falcon (1941)
THE SYMBOLISM OF CITIES
THE SYMBOLISM OF CITIES
THE SYMBOLISM OF CITIESCITIES
THE SYMBOLISM OF CITIESCITIES
¨ Mean, nasty places where anything can happen at any moment
THE SYMBOLISM OF CITIESCITIES
¨ Mean, nasty places where anything can happen at any moment
¨ Violence and crime occur often, usually randomly
THE SYMBOLISM OF CITIESCITIES
¨ Mean, nasty places where anything can happen at any moment
¨ Violence and crime occur often, usually randomly
¨ Sex: strip clubs, bars, sultry women abound
¨ Cities are grimy, dirty places with lots of shadows.
THE MEANING OF FOG
THE MEANING OF FOG
THE MEANING OF FOGFOG
THE MEANING OF FOGFOG
¨ In most film noir, fog obscures and renders a familiar environment both unclear and unknown.
THE MEANING OF FOGFOG
¨ In most film noir, fog obscures and renders a familiar environment both unclear and unknown.
¨ Fog’s opacity is symbolic of the mysterious, unknowable quality of both fate and the future.
¨ Its presence usually foreshadows a turning point in the film’s plot.
THE SYMBOLISM OF WATER
THE SYMBOLISM OF WATER
THE SYMBOLISM OF WATERWATER
THE SYMBOLISM OF WATERWATER
¨ What lies under the water?
THE SYMBOLISM OF WATERWATER
¨ What lies under the water?¨ The audience can rarely see
below the water’s surface
THE SYMBOLISM OF WATERWATER
¨ What lies under the water?¨ The audience can rarely see
below the water’s surface¨ This creates apprehension &
suspense on the viewer’s part.
¨ The water is often symbolically murky, choppy, or tumultuous
THE LIGHT OF FILM NOIR
THE LIGHT OF FILM NOIR¨ Film noir uses high contrast lighting with lots of
shadows.
THE LIGHT OF FILM NOIR¨ Film noir uses high contrast lighting with lots of
shadows. ¨ Sometimes props are the only source of light
THE LIGHT OF FILM NOIR¨ Film noir uses high contrast lighting with lots of
shadows. ¨ Sometimes props are the only source of light¨ This is called low key lighting.
Little key lighting (principle source of light) Mostly fill light (lights from side or back) Comedies and musicals usually use high key lighting to create uniform light with little contrast, film noir are the opposite of this effect.
LOW-KEY LIGHTING IN FILM NOIR
What low-key lighting effects do you see in this image of Humphrey Bogart in Casablanca (1942)?
LOW-KEY LIGHTING IN FILM NOIR
HIGH-KEY LIGHTING IN MUSICALS
HIGH-KEY LIGHTING IN MUSICALS
A still of the Brox Sisters in 1929’s Singing in the Rain. What do you notice about the lighting?
THE DARKNESS OF HUMANITY
THE DARKNESS OF HUMANITY¨ A film noir is designed to be a
world of paranoia and entrapment
THE DARKNESS OF HUMANITY¨ A film noir is designed to be a
world of paranoia and entrapment¨ Male protagonist feels trapped and
overwhelmed by a situation
Pickup on South Street (1953)
THE DARKNESS OF HUMANITY¨ A film noir is designed to be a
world of paranoia and entrapment¨ Male protagonist feels trapped and
overwhelmed by a situation¨ Chance plays a larger role than
fate
Pickup on South Street (1953)
THE DARKNESS OF HUMANITY¨ A film noir is designed to be a
world of paranoia and entrapment¨ Male protagonist feels trapped and
overwhelmed by a situation¨ Chance plays a larger role than
fate¨ Heavy use of mise-en-scene to
show craziness and entrapment: Bars or lines in front or behind character Tight framing Canted shots Odd angles Slow tracking shots Backward tracking shots
Pickup on South Street (1953)
THE FEMME FATALE
THE FEMME FATALE ¨ A “dangerous woman” who traps or
pulls the male protagonist (usually a common, everyday Joe) into a world of crime and danger.
Angelina Jolie in The Tourist (2010)
THE FEMME FATALE ¨ A “dangerous woman” who traps or
pulls the male protagonist (usually a common, everyday Joe) into a world of crime and danger.
¨ She is sexy, dangerous, often filled with “mad love,” greed, or jealousy.
Angelina Jolie in The Tourist (2010)
THE FEMME FATALE ¨ A “dangerous woman” who traps or
pulls the male protagonist (usually a common, everyday Joe) into a world of crime and danger.
¨ She is sexy, dangerous, often filled with “mad love,” greed, or jealousy.
¨ Often, one or the other, maybe both, will die. Angelina Jolie in The Tourist (2010)
Famke Janssen in Goldeneye (1995)
THE FEMME FATALE ¨ A “dangerous woman” who traps or
pulls the male protagonist (usually a common, everyday Joe) into a world of crime and danger.
¨ She is sexy, dangerous, often filled with “mad love,” greed, or jealousy.
¨ Often, one or the other, maybe both, will die.
¨ The Spider Woman: Why would the femme fatale be called this as well?
Ensnares the hero in a web of danger, lies and death!
Angelina Jolie in The Tourist (2010)
Famke Janssen in Goldeneye (1995)
THE SYMBOLISM OF TRAVEL
THE SYMBOLISM OF TRAVELTRANSPORTATION¨ Automobiles, trains,
airplanes and boats are featured prominently in film noir.
The Tourist (2010)
THE SYMBOLISM OF TRAVELTRANSPORTATION¨ Automobiles, trains,
airplanes and boats are featured prominently in film noir.
¨ These means of conveyance may be alternately utilized as:
The Tourist (2010)
THE SYMBOLISM OF TRAVELTRANSPORTATION¨ Automobiles, trains,
airplanes and boats are featured prominently in film noir.
¨ These means of conveyance may be alternately utilized as:
Weapons
The Tourist (2010)
THE SYMBOLISM OF TRAVELTRANSPORTATION¨ Automobiles, trains,
airplanes and boats are featured prominently in film noir.
¨ These means of conveyance may be alternately utilized as:
WeaponsPlaces of isolation, or
The Tourist (2010)
THE SYMBOLISM OF TRAVELTRANSPORTATION¨ Automobiles, trains,
airplanes and boats are featured prominently in film noir.
¨ These means of conveyance may be alternately utilized as:
WeaponsPlaces of isolation, orMeans of escape by the characters of the film.
Casablanca (1942)
The Tourist (2010)
THE MEANING OF COSTUME
THE MEANING OF COSTUMECLOTHING
THE MEANING OF COSTUMECLOTHING
¨ In film noir, a character’s costume or make-up design is meant to help illustrate his or her character to the audience
THE MEANING OF COSTUMECLOTHING
¨ In film noir, a character’s costume or make-up design is meant to help illustrate his or her character to the audience
¨ Film noir costumes may convey:
Wealth Innocence Guilt Danger Temptation
Alexis Bledel, Jamie King & Mickey Rourke in Sin City (2005)
THE ROLE OF GLASS
THE ROLE OF GLASSMIRRORS & GLASS
THE ROLE OF GLASSMIRRORS & GLASS
¨ Mirrors and glass – especially broken glass – figure centrally into many film noir.
THE ROLE OF GLASSMIRRORS & GLASS
¨ Mirrors and glass – especially broken glass – figure centrally into many film noir.
¨ Broken shards of glass are sharp and dangerous, yet fragile – a metaphor for life in a film noir.
The Lady from Shanghai (1947)
Sin City (2005)
THE ROLE OF GLASSMIRRORS & GLASS
¨ Mirrors and glass – especially broken glass – figure centrally into many film noir.
¨ Broken shards of glass are sharp and dangerous, yet fragile – a metaphor for life in a film noir.
¨ Reflections in mirrors show that no one is exempt from reality, and that all characters are subject to the same rules.
The Lady from Shanghai (1947)
Sin City (2005)
THE ROLE OF GLASSMIRRORS & GLASS
¨ Mirrors and glass – especially broken glass – figure centrally into many film noir.
¨ Broken shards of glass are sharp and dangerous, yet fragile – a metaphor for life in a film noir.
¨ Reflections in mirrors show that no one is exempt from reality, and that all characters are subject to the same rules.
¨ Mirrors – and the turning of a mirror’s image – create apprehension on the viewer’s part. Something or someone could be on the other side!
The Lady from Shanghai (1947)
Sin City (2005)
POST-MODERN FILM NOIR
POST-MODERN FILM NOIR¨ Even though pure film noir died out,
its influence can still be seen today.
POST-MODERN FILM NOIR¨ Even though pure film noir died out,
its influence can still be seen today.¨ Small details have been appropriated
from the classics (symbols, lighting, characters).
POST-MODERN FILM NOIR¨ Even though pure film noir died out,
its influence can still be seen today.¨ Small details have been appropriated
from the classics (symbols, lighting, characters).
¨ Some feel film noir must be black and white, while others feel that high contrast can be achieved through use of vivid colors.
POST-MODERN FILM NOIR¨ Even though pure film noir died out,
its influence can still be seen today.¨ Small details have been appropriated
from the classics (symbols, lighting, characters).
¨ Some feel film noir must be black and white, while others feel that high contrast can be achieved through use of vivid colors.
¨ Examples: Mulholland Drive (2001), Who Framed Roger Rabbit? (1988), The Tourist (2010) & The Black Dahlia (2006).
CASABLANCA
CASABLANCA
CASABLANCA¨ Released by Warner Bros. Studios in
1942
CASABLANCA¨ Released by Warner Bros. Studios in
1942¨ Directed by Michael Curtiz
CASABLANCA¨ Released by Warner Bros. Studios in
1942¨ Directed by Michael Curtiz ¨ Stars Humphrey Bogart & Ingrid
Bergman
CASABLANCA¨ Released by Warner Bros. Studios in
1942¨ Directed by Michael Curtiz ¨ Stars Humphrey Bogart & Ingrid
Bergman¨ Set in Vichy-occupied World War II-
era Moroccan city of Casablanca
CASABLANCA¨ Released by Warner Bros. Studios in
1942¨ Directed by Michael Curtiz ¨ Stars Humphrey Bogart & Ingrid
Bergman¨ Set in Vichy-occupied World War II-
era Moroccan city of Casablanca¨ Elements To Watch For:
Film noir character relationships Film noir mise-en-scene Sense of chance vs. fate Hero not wanting to be a hero
FIN
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