GENREGENRE = type or category that most films fit most = type or category that most films fit most

comfortably in. These formulas were comfortably in. These formulas were crystallized in the Classical Hollywood crystallized in the Classical Hollywood period and still define how most movies period and still define how most movies are made and marketed today.are made and marketed today.

Samples of GenresSamples of Genres

western

Gangster/crime

Science fiction

musicals

Film Noir CharacteristicsFilm Noir Characteristics ““dark” or “black” filmdark” or “black” film a style, not a genre (scholastically, a style, not a genre (scholastically,

although this is debated)although this is debated) Influenced visually and thematically Influenced visually and thematically

by German Expressionism (sense of by German Expressionism (sense of impending and utter fatalism) and impending and utter fatalism) and French films of 1930sFrench films of 1930s

Popular pulp novelists: Dashiell Popular pulp novelists: Dashiell Hammett, Raymond ChandlerHammett, Raymond Chandler

Influenced by Orson Welles’s Influenced by Orson Welles’s Citizen Kane (1941)Citizen Kane (1941)

Atmosphere and morality of film Atmosphere and morality of film noir is obscure and ambiguousnoir is obscure and ambiguous

Film NoirFilm Noir

Film Noir Characteristics Film Noir Characteristics Cont’d:Cont’d:

Greed, corruption, lust, violence, and Greed, corruption, lust, violence, and horrorhorror

Plots often convolutedPlots often convoluted Hero is outlaw, misfit, or jaded gumshoe Hero is outlaw, misfit, or jaded gumshoe

(private eye) – “lone wolf”(private eye) – “lone wolf” ““Femme fatale” (do NOT trust this Femme fatale” (do NOT trust this

woman!)woman!) Corrupt politician, crooked cop, bad girl, Corrupt politician, crooked cop, bad girl,

insane killerinsane killer Settings are often urban (night, dirty Settings are often urban (night, dirty

streets, run-down buildings)streets, run-down buildings)

““Femme fatale” (do NOT Femme fatale” (do NOT trust this woman!)trust this woman!)

Visual StyleVisual Style - Tend to use dramatic shadows, stark contrast, - Tend to use dramatic shadows, stark contrast,

low-key lighting, and black-and-white rather than low-key lighting, and black-and-white rather than colorcolor

- Typical film shot in a 10:1 ratio of dark to light - Typical film shot in a 10:1 ratio of dark to light (typical movie is 3:1 ratio)(typical movie is 3:1 ratio)

- shot on location in cities, night time shooting - shot on location in cities, night time shooting was common to get that really dark lookwas common to get that really dark look

- Shadows of Venetian blinds, dramatically cast - Shadows of Venetian blinds, dramatically cast upon an actor's face as he or she looks out a upon an actor's face as he or she looks out a window, are a commonly used visual in film noir.window, are a commonly used visual in film noir.

- known for its use of low angle shots and wide - known for its use of low angle shots and wide angle lenses. angle lenses.

- include shots of people in mirrors, shots - include shots of people in mirrors, shots through a glass, and multiple exposures.through a glass, and multiple exposures.

- shot on location in cities, night - shot on location in cities, night time shooting was common to get time shooting was common to get that really dark lookthat really dark look

- Tend to use dramatic shadows, stark - Tend to use dramatic shadows, stark contrast, low-key lighting, and black-and-contrast, low-key lighting, and black-and-white rather than colorwhite rather than color

Shadows of Venetian Shadows of Venetian blindsblinds

Classical Film NoirClassical Film Noir

The Maltese FalconThe Maltese Falcon (1941) (1941) Key LargoKey Largo (1948) (1948) The Asphalt JungleThe Asphalt Jungle (1950) (1950) Shadow of a DoubtShadow of a Doubt (1943) (1943) NotoriousNotorious (1946) (1946) Strangers on a TrainStrangers on a Train (1951) (1951) The Wrong ManThe Wrong Man (1956) (1956) Touch of EvilTouch of Evil (1958) (1958)

Classic Period (1940s Classic Period (1940s and 1950s )and 1950s )

Neo-NoirNeo-Noir

Neo-Noir Neo-Noir Examples/RecommendationExamples/Recommendation

s:s: ChinatownChinatown (Polanski, 1974) (Polanski, 1974) Taxi DriverTaxi Driver (Scorsese, 1976) (Scorsese, 1976) Body HeatBody Heat (Kasdan, 1981) (Kasdan, 1981) Blade RunnerBlade Runner (R. Scott, 1981) (R. Scott, 1981) The GriftersThe Grifters (Frears, 1990) (Frears, 1990) Reservoir DogsReservoir Dogs (Tarantino, 1992) (Tarantino, 1992) The Last SeductionThe Last Seduction (Dahl, 1994) (Dahl, 1994) Pulp FictionPulp Fiction (Tarantino, 1994) (Tarantino, 1994) FargoFargo (Coen, 1996) (Coen, 1996) L.A. ConfidentialL.A. Confidential (Hanson, 1997) (Hanson, 1997) CollateralCollateral (Mann, 2004) (Mann, 2004)

Other Neo-Noir Other Neo-Noir Examples:Examples:

ScarfaceScarface (DePalma, 1983) (DePalma, 1983) The UntouchablesThe Untouchables (DePalma, 1987) (DePalma, 1987) Cape FearCape Fear (Scorsese, 1991) (Scorsese, 1991) Basic InstinctBasic Instinct (Verhoeven, 1992) (Verhoeven, 1992) Muholland FallsMuholland Falls (Tamahori, 1996) (Tamahori, 1996) Sin CitySin City (Rodriguez, 2005) (Rodriguez, 2005) Kiss Kiss Bang BangKiss Kiss Bang Bang (Black, 2005) (Black, 2005) BrickBrick (Johnson, 2005) (Johnson, 2005)

Chinatown Chinatown (1974)(1974)

““The most American film genre, The most American film genre, because no society could have because no society could have created a world so filled with doom, created a world so filled with doom, fate, fear and betrayal, unless it fate, fear and betrayal, unless it were essentially naive and were essentially naive and optimistic.”optimistic.”

-- Roger Ebert Roger Ebert

Double Indemnity Double Indemnity (1944)(1944)

Billy Wilder (1906-Billy Wilder (1906-2002)2002)

Barbara Stanwyck (1907-Barbara Stanwyck (1907-1990)1990)

Fred MacMurray (1908-Fred MacMurray (1908-1991)1991)

Edward G. Robinson (1893-Edward G. Robinson (1893-1973)1973)

AssignmentAssignment

While viewing While viewing Double Indemnity Double Indemnity (1944), create a list of film noir (1944), create a list of film noir characteristics and visual elements characteristics and visual elements evident in the film. Be specific and evident in the film. Be specific and create a minimum of 5 examples create a minimum of 5 examples today.today.

Film JournalFilm Journal

25 pts25 pts Watch a film noir (classical or neo-Watch a film noir (classical or neo-

noir) and discuss what noir) and discuss what characteristics of film noir are characteristics of film noir are evident in the film.evident in the film.

½ pg – 1 pg in length½ pg – 1 pg in length