LA 182 OL2: Genre Cycle Via Film Noir
Glen Debello
LA 182 OL2: Genres in Film
Denah Johnston
01 Aug 2014
Genre Cycle via Film Noir Film Noir was an American movement that defined its own style of characters, settings and plots. This could have only been brought on by the tumultuous post World War II society. Directors were able to establish a counterpart to the leading man with a seductive and cynical femme fatale. Dark, smoky atmospheres that barely showed the characters as they were committing or organizing a violent crime. Film Noir could be a retrospective on what American culture could have been. It could also be a society’s frame of reference on how they see themselves. The origins of Film Noir trace back to the early 1930’s. American society was coming out of the depression …show more content…
During the late 1930’s, Film Noir has been established but without a name. John Alton, a cinematographer who learned his trade abroad in France and Argentina help establish the dark silhouette of Film Noir. This provided the dark and dangerous mood the audience was watching. Low camera angles would show a powerful character that was either in danger or a serious moment. In The Public Enemy (1931) a high camera angle in the scene would show a vulnerable or weak character. This can be seen when the Tommy confronts Putty in his apartment. The high camera angle shows Putty as his weakest point, begging for mercy. These camera angles and lighting direction are described well in John Alton’s first book called Painting with Light …show more content…
The high camera angle is also shown when Johnny Farrell is shown to be at a vulnerable point walking up the stairs. We meet Gilda Mundson, the femme fatale who is just a sure sign of danger. This film is also set through Johnny Farrell’s narration. Reminiscent of the early films, Johnny and Gilda’s dark relationship was crumbling from the beginning. Gilda just doesn’t explore the dark gritty relationships of the gambling lifestyle, and it also explores the depth of human emotions. The audience witnesses Johnny Farrell explore these emotions when Gilda is asked to dance and when Johnny is asked to get Gilda from the dance floor. Gilda, the femme fatale who is always shown as a dangerous character. These tense settings can be seen in various films ranging from The Big Sleep (1946) to Roman Polanski’s Chinatown
LA 182 OL2: Genres in Film
Denah Johnston
01 Aug 2014
Genre Cycle via Film Noir Film Noir was an American movement that defined its own style of characters, settings and plots. This could have only been brought on by the tumultuous post World War II society. Directors were able to establish a counterpart to the leading man with a seductive and cynical femme fatale. Dark, smoky atmospheres that barely showed the characters as they were committing or organizing a violent crime. Film Noir could be a retrospective on what American culture could have been. It could also be a society’s frame of reference on how they see themselves. The origins of Film Noir trace back to the early 1930’s. American society was coming out of the depression …show more content…
During the late 1930’s, Film Noir has been established but without a name. John Alton, a cinematographer who learned his trade abroad in France and Argentina help establish the dark silhouette of Film Noir. This provided the dark and dangerous mood the audience was watching. Low camera angles would show a powerful character that was either in danger or a serious moment. In The Public Enemy (1931) a high camera angle in the scene would show a vulnerable or weak character. This can be seen when the Tommy confronts Putty in his apartment. The high camera angle shows Putty as his weakest point, begging for mercy. These camera angles and lighting direction are described well in John Alton’s first book called Painting with Light …show more content…
The high camera angle is also shown when Johnny Farrell is shown to be at a vulnerable point walking up the stairs. We meet Gilda Mundson, the femme fatale who is just a sure sign of danger. This film is also set through Johnny Farrell’s narration. Reminiscent of the early films, Johnny and Gilda’s dark relationship was crumbling from the beginning. Gilda just doesn’t explore the dark gritty relationships of the gambling lifestyle, and it also explores the depth of human emotions. The audience witnesses Johnny Farrell explore these emotions when Gilda is asked to dance and when Johnny is asked to get Gilda from the dance floor. Gilda, the femme fatale who is always shown as a dangerous character. These tense settings can be seen in various films ranging from The Big Sleep (1946) to Roman Polanski’s Chinatown