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Professor Will Adams
Valencia College
 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.
 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)
 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.
 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.
 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
 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.
What low-key lighting effects do you see in this image of
Humphrey Bogart in Casablanca (1942)?
A still of the Brox Sisters in 1929’s Singing in the Rain. What do you
notice about the lighting?
 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)
 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 TheTourist (2010)
Famke Janssen in Goldeneye (1995)
 Automobiles, trains,
airplanes and boats are
featured prominently in
film noir.
 These means of
conveyance may be
alternately utilized as:
 Weapons
 Places of isolation, or
 Means of escape by the
characters of the film.
Casablanca (1942)
TheTourist (2010)
 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)
 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)
 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),
TheTourist (2010) & The Black Dahlia
(2006).
 Released by Warner Bros. Studios
in 1942
 Directed by Michael Curtiz
 Stars Humphrey Bogart & Ingrid
Bergman
 Set inVichy-occupied WorldWar
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
Film Noir

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Film Noir

  • 2.  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.
  • 3.  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)
  • 4.  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.
  • 5.  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.
  • 6.  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
  • 7.  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.
  • 8. What low-key lighting effects do you see in this image of Humphrey Bogart in Casablanca (1942)?
  • 9. A still of the Brox Sisters in 1929’s Singing in the Rain. What do you notice about the lighting?
  • 10.  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)
  • 11.  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 TheTourist (2010) Famke Janssen in Goldeneye (1995)
  • 12.  Automobiles, trains, airplanes and boats are featured prominently in film noir.  These means of conveyance may be alternately utilized as:  Weapons  Places of isolation, or  Means of escape by the characters of the film. Casablanca (1942) TheTourist (2010)
  • 13.  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)
  • 14.  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)
  • 15.  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), TheTourist (2010) & The Black Dahlia (2006).
  • 16.  Released by Warner Bros. Studios in 1942  Directed by Michael Curtiz  Stars Humphrey Bogart & Ingrid Bergman  Set inVichy-occupied WorldWar 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