Film Noir - Double Indemnity Billy Wilder’s Double Indemnity is almost like a basic outline for the Film Noir genre. Film noir settings normally take place in city streets, railway stations, the underground, warehouses or even bars. These atmospheres create a scary feeling and with the big amount of space, it leaves many hidden mysteries or secrets. Other genres can be based nearly anywhere and still create the same impression, but with the use of equal lighting on the setting and characters the impression of Film Noir is made. The many Film Noir conventions through characters is seen in Double Indemnity.
Film noirs in the 1940s and 50s were like no other, filled with intricate plots and alluring characterizations. Characters tend to be vengeful, through brute violence. Stories were told from the point-of-view of the protagonist, in a flashback sequence where the crime has already been committed. Billy Wilder, made some of the greatest Hollywood film noirs, creating some of the most interesting characters in Classical Hollywood cinema, most notable the femme fatale. Billy Wilder, known for his dark film noirs, such as Double Indemnity (1944) and Sunset Boulevard (1950), always featured dangerous women involved in crimes of passion.
Insert name Insert name of the course supervisor Insert name of the course Insert date assignment is due Reefer Madness Film Response As a 1936 classic film, Reefer madness got the first filming as a full of propaganda. Its primary purpose was to enlighten the public about negative effects of Marijuana. It also exposes a lot of ridicule and excessive deployment of cult classic. This film has its story base written by Meade Lawrence. It is writing by Hoerl Arthur and constitutes a supplement of a dialogue from Paul Franklin.
In most detective fiction written before the 1930’s, police officers played subordinate roles – but the World Wars changed that. Transformations in American society contributed to new concerns about crime, rising levels of violence and acute attention to the role of police. The spy hero was made redundant by the collapse of the Soviet Union and thriller writers needed something to fill the void. Rather than detection, the crime narratives focused on moments of moral decision making and were conveyed from the point of view of protagonists who were police detectives or government agents. A broader interest in exploring psychological motivation also found its niche in US film and was visually and narratively distinct from that of the 1930’s.
Bedsides the fact that he is a restricted narrator creates subjectivity, we only knows what he tells us and the fact that he includes personal opinions in his narration increase the subjectivity. Moreover the voice-over is also a way to manipulate the audience, identifying what the narrator is saying with the thoughts of the character at that moment of the story. In a way the voice-over contaminates the main character and adds subjectivity to the story. The subjectivity is a common feature of the film noir and it is present during the introduction of all the characters and their world. But the description is not only subjective but also ironic.
Billed as “the Laziest Man in the World”, Fetchit was the first black actor to make millions in the film industry. He starred in dozens of offensive films and his name is synonymous with an era Hollywood loves to forget. (AP Photo) Gone with the Wind
In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content. Classical Hollywood Classical Hollywood is a tradition of methods and structures that were prominent American cinema between 1916 and 1960.Its heritage stems from earlier American cinema Melodrama and to theatrical melodrama before that. Its tradition lives on in mainstream Hollywood to this day. But what is it? Classic na... ... middle of paper ... ... Book,1st ed (BFI, 1990) 4.
Elise Vertefeuille RTVF10 April 1, 2012 Esther Duran Movie Analysis #2 Scarface: The Shame of the Nation One of the worlds most classic and artistic movies is none other than “Scarface: The Shame of the Nation” directed by Howard Hawks and Richard Rosson, and written by Ben Hecht. “The controversial film was in the planning stages in 1930 - to be produced by versatile co-producer/director Howard Hawks and co-producer Howard Hughes” (Filmsite). However released in 1932 this film is set in Chicago in the 1930’s. With phenomenal actors such as Paul Muni, Karen Morely, Ann Dvorak, and Boris Karloff, it is hard to find this movie anything but engaging. In 1933, “Scarface” won the U.S. National Film Registry by the Library of Congress, and was nominated in 1932 for Best Picture by the National Board of Review.
Marvel continued its trend of making better villains, as Michael B. Jordan’s Killmonger represents an impressive antagonist. Jordan conveys the anger and convictions of his character quite well, as screenwriters Ryan Coogler and Joe Robert Cole make the excellent choice to have his character represent black anger and desires for militancy (more on that soon). Coogler, who also directed, brings one of the most noteworthy visual styles yet seen in the MCU to the film. Everything from the bright and exotic color palette to the traditionally African-influenced production design by Hannah Beachler and costuming by Ruth Cart makes this film stand out among its compatriots. Coogler and cinematographer Rachel Morrison also show off some flashy camera tricks here and there.
Film Noir – The Protagonist Nicky Khilnani An Introduction to Film Noir To fully understand the characteristics of a particular component of ‘Film Noir’, it is essential that we also firstly understand the basis upon which ‘Film Noir’ was initially established as a genre within the Film Industry. ‘Film Noir’ isn’t really a genre of film on its own but merely a coined term literally meaning ‘Black Film’ or ‘Dark Film’ which refers to a class of Hollywood features produced between the 1940’s and 1950’s respectively, that were based particularly on Detective or Crime-related films. The genre of these films can easily be classed as Suspense films or Thrillers. They were introduced as feature films progressively during the 1940’s after the Second World War. Feature films produced in the USA only got a chance to spread to most of Europe after the mid 1940’s and after many war stories were exchanged between these European nations and the USA, films produced in America tended to have a darker side to them with cinematography and directory of the same being heavily influenced by themes incipient as death.