The femme fatale‚ a seductive woman who entices men into perilous and compromising positions by way of charisma and mystery‚ is a classic‚ and often enthralling‚ character who can be found in many sources of literature and mythology of various origins and eras ("Femme Fatale" 1). "If the goddess of virtue is a lily and the vamp is an overripe red rose‚ the femme fatale is a Venus flytrap." (Billinghurst 1). In the simple quote above‚ Ms. Jane Billinghurst‚ author of "Temptress"‚ provides explanation
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TARNÓW STATE COLLEGE INSTITUTE OF HUMANITIES DEPARTMENT OF ENGLISH Mateusz BILIŃSKI PORTRAIT OF FEMME FATALE IN VICTORIAN LITERATURE Project presented in part fulfilment of the requirements for the Degree of Licentiate in Tarnów State College‚ written under the supervision of dr Dominika Ruszkiewicz TARNÓW 2013 CONTENTS
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discussed as a genre‚ one needs to look at films that describe it. The 1944 film Double Indemnity is one example of what Noir looks like. It has 3 essential characteristics of noir film: dark iconography‚ “femme fatale” stereotypes‚ and criminal actions.
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Question One: In Double Indemnity‚ the lead character‚ Insurance salesman Walter Neff finds himself in fatal love affair with femme fatale‚ Phyllis Dietrichson. Dietrichson’s relationship with Neff developed with the goal to kill her current husband‚ however once the goal is achieved the relationship between the two drastically crumples as both are tasked with hiding the truth from Neff’s Insurance agency. One of the crumbling factors in their fatal relationship is Dietrichson’s step daughter
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the hero‚ while the woman is a damsel in distress waiting to be rescued. This type of representation of women is quite the opposite in film noir. The classic femme fatale of film noir is a strong and confident woman who disrupts traditional family values; she refuses to play the typical role that society prescribes. Instead‚ the femme fatale uses her beauty to manipulate men in order to achieve power and independence.
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“The Femme fatale‚ defined simply‚ is an irresistibly attractive woman‚ especially one who leads men into danger. In hard-boiled fiction‚ she is usually the protagonist’ romantic interest…The protagonist involvement with her my range from mild flirtation to passionate sex‚ but in the denouement he must reject or leave her‚ for the revealed plot shows her to be one of the causes of the crime.” Williams Marling‚ Professor of English Case Western University Female Fatale In
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and the femme fatale. The ever-present sexual dynamic between these two provides the basis for much of the criminal action and‚ therefore‚ the ultimate ignominious downfall of the man (and the woman herself might get dragged down in the scheme as well). Often‚ manipulative ulterior motives (often resulting in a double-cross being double-crossed) and legitimate sexual attraction are at the very least ambiguously intertwined and at the most‚ inseparable. Billy Wilder’s 1944 film Double Indemnity‚ the
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"Double Indemnity" is one of the best films of all time‚ not necessarily because of its story but because of the acting‚ direction‚ cinematography‚ lighting‚ and the narrative style. At the time this film was released‚ the idea of revealing who the killer was in the opening scene was virtually unheard of‚ but it ended up being very effective because it allowed the audience to concentrate more on other elements of the film‚ which was the goal of Billy Wilder‚ the director. Instead of trying to figure
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Description of a scene Within the film‚ “Double Indemnity”‚ there exists quite the diversity of scenes that are presented to the viewer. A particular two minute stretch of the film is interesting in itself as it provides a good example of the sheer number of particular details that can make a film like this stand out from the rest. The first shot of the film exists as one of the most impressive as it takes place primarily within an elevator with minimal camera movement. This medium shot is the longest
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generic codes and conventions of film noir with more recent neo-noirs; the films I’m going to use to do this are Double Indemnity and Pulp Fiction. I’m also going to investigate the relationship between original film noirs and the Hollywood studio system and contemporary production contexts in the North American Film Industry. The first film I’m going to be looking at is Double Indemnity‚ a classic noir film which follows Walter Neff‚ an insurance salesman who meets Phyllis Dietrichson and is roped
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