How does Double Indemnity establish its centre as a Film Noir?

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How does Double Indemnity establish its centre as a Film Noir? There are many aspects of the film ‘Double Indemnity’, directed by Billy Wilder, 1944 which establish its centre as a Film Noir. Film noir is a cinematic term used primarily to describe stylish Hollywood crime dramas, particularly those that emphasize moral ambiguity and sexual motivation. Hollywood's classic film noir period is generally regarded as stretching from the early 1940s to the late 1950s. One aspect of the film which labels it as a Film Noir, is the Low-Key lighting used throughout the film; the effect of which creates dramatic shadow patterning and light/dark contrasts. It’s from this technique that Film Noir receives its name, being labeled so by French film makers as ‘black film’. There are various instances where Low-key lighting plays a huge part in crafting the atmosphere and setting of a certain scene, one being in the classic ‘private eye’ insurance office scene. The use of low-key lighting here, suggests a dark and mysterious nature to, not only the office but the user of said office, which was often the case when looking at typical ‘private eye’ detective services, here in this film the office is that of an insurance company, but still upholds the same traits as a ‘private eye’ office, shrouded in mystery and secrecy. Venetian blinds are a very clear trait of Film Noir, Double Indemnity incorporates various examples of venetian blinds throughout the film e.g. in Walter Neff’s insurance office, at the Dietrichson Estate etc. It can be argued that Film Noir must end with a bleak and pessimistic ending, in a response to the low-key lighting used to create such feelings and atmosphere throughout the films. Film Noirs that end with ‘happy’ endings can be argued, and in my opinion, contradict the themes, mise-en-scene and the cinematography used to create the classic traits of a
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