Introduction to Hollywood Cinema:Revisionism, Noir, and Devil in a Blue Dress

Prof. Julia LeydaMay 2, 2023

quiz

Describe the crazy man in Easy’s neighborhood. What is he always trying to do? What does he symbolize?

(10 minutes)

functions of genre

• audience: helps to describe a movie, and also to know what to expect before we see it• industry: helps in publicity and marketing • critics: helps provide context by categorizing

and placing a movie within the history of its genre

genre conventions

elements that appear in almost all of that genre’s movies • themes: gangster movies are usually about a rise to

power and loss of humanity• techniques: horror and thriller usually have dark, moody

lighting and dramatic music • iconography: symbolic images that carry similar meaning

from film to filmrevisionist movies change or even reverse conventions

(i.e., a revisionist Western)

social function of genre

• reflectionist: at certain times in history, the stories, themes, values, or imagery of the genre can reflect contemporaneous ideologies

• be careful not to overemphasize the reflectionist approach in your analysis– remember the industry’s profit motive in production

decisions that give the people what they wantpopular movies both express and influence

ideologies, but not always accurately or directly

film noir

• from French “black film” because of dark images• originally a group of 1940s-50s movies with dark

visual imagery and dark themes; happy endings?• not agreed upon as a “genre”; visual style / mood• postwar / Cold War atmosphere of cynicism, fear,

betrayal, mystery, mistaken identity, dystopia unlike most Hollywood movies, noirs don’t show

Americans what they want to believe is true

conventions of film noir

• dark visual imagery and dark themes: chiaroscuro lighting, night scenes, crime

• disillusioned anti-hero struggles against corruption, crime• often detective narrative or quest for truth or information• femme fatale (deadly woman) uses her sexuality to

manipulate, control men• ex.: Double Indemnity, Gilda, Cat People, In a Lonely

Place, The Killers, Mildred Pierce, Night and the City

neo-noir and revisionist noir

• from 1970s on: movies with dark visual styles, themes

• often revise race, gender, history, sexuality, or setting • still feature noir conventions:– corruption, crime, and femme fatale– mood of cynicism, fear, betrayal– not always happy endings

ex.: Chinatown, Klute, Blade Runner, One False Move, L.A. Confidential, Bound, The Grifters, Sin City

African American Hollywood

• few roles, sometimes white actors in blackface– servants / slaves (maid, cook) and performers

(musicians, singers, dancers)• stereotyped representations – Toms, Coons, Mammies: older, non-sexual, childlike– Black Bucks and Tragic Mulattoes: sexual threat of

miscegenation– ideology of white patriarchy rarely challenged in early

Hollywood cinema

social problem films

• 1940s and 50s cycle of liberal, anti-racist movies – African American victimization, usually from white POV– sympathetic but tragic black characters– more tragic mulattoes = danger of miscegenation

• biggest star: Sidney Poitier– positive role model– noble, articulate characters (against stereotypes)– often compared to Denzel Washington

Devil in a Blue Dress (1995)

• based on Walter Mosley novel• written and directed by Carl Franklin• stars Denzel Washington, Jennifer Beals, Don

Cheadle• African American neo-noir set in 1948 L.A. • other interesting neo-noirs of the 90s: – L.A. Confidential, Bound, Reservoir Dogs

revisionist (neo-)noir

• revisionist genre films: – revising some conventions, maintaining others– emphasis on ideology and hegemonic negotiation

• DIABD recreates settings of classic film noir but in racialized city spaces, with AA characters and POV

• “documents” previously invisible black film world• highlights racism of the late 40s

black world invisible in 1940s films

“My name is not ‘fella.’”

making space racial

• setting in DIABD: segregated 1948 Los Angeles• public spaces: still socially segregated• restricted white spaces are carefully guarded• but African American spaces are not very safe

fear of miscegenation in public space

breaking “white only” hotel rules

white man enters black public space

home invasion: Albright

home invasion: Daphne

making mobility racial

• driving with “white” Daphne in his car• Easy’s body language changes when he moves

from his own neighborhood to white areas– relaxed, free, big gestures, laughs, plays with friends– cautious, watched by police and whites, fearful

• “I love coming home”: Easy’s house represents his independence and freedom (economic, social)

“I was stupid”

“I love coming home to my house.”

discussion questions

1. Discuss Devil in a Blue Dress in terms of genre conventions and revisionism. Compare it to other film noir movies you have seen.

2. How does the movie portray white supremacy in 1948 Los Angeles? Give some other examples.

3. How does Daphne fit the types of the femme fatale and the tragic mulatto?

4. How does this movie fit in with Denzel Washington’s star image?