Film Noir Fiction Analysis

Film noir is a famous era of filmmaking that defined the cinematic experience in Hollywood for a whole decade. No film can correctly represent such a influential cinematic era like Gun Crazy directed by Joseph H. Lewis. Gun Crazy is a unique expression of film noir of the 1950s that utilizes many cinematic elements in unparalleled ways to tell its story in a distinct fashion. Lewis uses cinematic techniques such as lighting, composition, editing, music, and mise-en-scene of the opening sequence to establish the tone and character motivations of the story.

When discussing American culture, the influence and interplay of film cannot be understated. We are a nation consumed with the media. Today, the movie business is one of the highest grossing businesses there is. We hold movie stars up as though they are super human. We closely watch their style, their dating lives, their party habits, and even their favorite restaurants, among many other things. We rely on movies to lift us up, teach us about other cultures and time periods, and even to teach us about our own culture. Often, movies reflect the time period they are filmed in and directly reflect the social tensions of that time and the film noir genre is no different. One of the most famous film noir movies out there, The Maltese Falcon,

Film Noir was extremely trendy during the 1940’s. People were captivated by the way it expresses a mood of disillusionment and indistinctness between good and evil. Film Noir have key elements; crime, mystery, an anti-hero, femme fatale, and chiaroscuro lighting and camera angles. The Maltese Falcon is an example of film noir because of the usage of camera angles, lighting and ominous settings, as well as sinister characters as Samuel Spade, the anti-hero on a quest for meaning, who encounters the death of his partner but does not show any signs of remorse but instead for his greed for riches.

The Motion Picture Production Code, commonly known as the Hays Code, was adopted in March 1930, though it was not truly enforced until four years later in 1934. This set of rules had tremendously influenced the way Hollywood movies were made for a number of years. This code was based on the ethics and norms if that time. There were three main principals of the Hays Code. The first was no picture shall be produced that will lower the moral standard of those who see it. What was meant by this was that sympathy should not be portrayed towards crimes, wrongdoings, evil or sins. The second stated that only a correct standard of living could be presented that are only subject to the requirements of drama and

The Merriam-Webster Dictionary (n.d) defines noir as “crime fiction featuring hard-boiled[,] cynical characters and bleak[,] sleazy settings.” However, it could be suggested that “claustrophobic” would be a better descriptor, in place of “sleazy.” The term noir, as it relates to fiction, comes from “film noir,” which means “black cinema,” and was a term coined in France by French critic Nino Frank (Schurr, A., Crump, A., Rozeman, M., & Paste staff, 2015). The dark term was coined partially in reference to a particular subset of Hollywood films that were permeated with previously unseen levels of cynicism or disillusionment, this cynicism is generally attributed to the 1940s post-war dynamics (Hoerneman, n.d.). Film

Among the common peculiarities of film noir, the distinct division between the male characters and the different representations of women reinforce notions of masculinity and gender roles. Furthermore, in the 1940’s film noir was Hollywood’s way to illustrate a world in where pessimism and suspicion dictated people’s lives. Mostly presented as detectives or a lone wolf, the men are portrayed as cold-hearted, disconnected, and cynical to show their hopelessness and disillusionment of the society they lived in. Along this depiction, multiple women are placed into different roles, to either play the seductress and/or a menace to the male protagonist. In the The Maltese Falcon film noir, the male protagonist is characterized as a typical male

Film noir, literally meaning ‘black film’, refers to 1940s style detective thriller films that are typically dark in both themes and visual style (Luhr 2004, pp. 93). Although Fargo explores gruesome crimes inspired by the “grim theme of desperation”, the film’s visual palette is oppressively white, both in terms of its bleak snow-covered landscape and its predominantly White-Christian, suburban Upper Midwestern setting (Luhr 2004, pp. 93). Moreover, Fargo challenges film noir conventions in its revelation of the crime’s culprits at the very beginning of a linear and straightforward plot (Bordwell

Films have been around for a very long time starting from the silent era leading to the classical phase up until today, and with time comes change and adapt to what’s current and popular. However, one thing that has stayed constant are the upcoming of film genre. One of the primary ways to identify and differentiate films are by their genres and styles. This lays out the foundation of the film using many factors like iconography, language, conflicts, lighting and story plot. One of the most iconic styles in the cinematic world would have to be the typical gangster films. Two of the most recognizable gangster films of their time were the Public Enemy (1931), along with the film Scarface (1983). Although these two films were shot in completely different eras of the U.S. we see both encounter the same stages in life despite the time change. This goes to show that these two films strongly symbolizes and demonstrates just what the gangster genre is all about in terms of social context, themes, conflict and iconography.

Film Noir, a term coined by the French to describe a style of film characterized by dark themes, storylines, and visuals, has been influencing cinematic industries since the 1940’s. With roots in German expressionistic films and Italian postwar documentaries, film noir has made its way into American film as well, particularly identified in mob and crime pictures. However, such settings are not exclusive to American film noir. One noteworthy example is Billy Wilder’s film Sunset Boulevard, which follows the foreboding tale of Joe Gillis, the desperate-for-success protagonist, who finds himself in the fatal grips of the disillusioned femme fatale Norma Desmond. Not only does the storyline’s heavy subject matter and typical character

Film Noir was a result of it's time - The war had just ended and It was time where prohibition had influenced an abundance in crime and corruption. Film noir serves to highlight the darkest aspects of human beings. ‘Society is making the machinery of it's own destruction.

Tony Garnett’s The Postman Always Rings Twice (1946) seems a quintessential film noir. The title suggests a fateful conclusion for the two main characters—a flawed drifter named Frank (John Garfield) and his restless female conspirator, Cora (Lana Turner). Garnett’s crime drama is crafted with the stylish devices usually characteristic of the film noir genre—low-key lighting; a flawed, inept hero; and an archetypal femme fatale. Certain thematic codes are also persistent: psychological conflict, paranoia, fate, and moral ambiguity. Three telling scenes communicate the noir stylistics effectively—where nearly all of the devices converge simultaneously: (1) Frank’s first meeting

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This study will compare and contrast the elements of the crime genre in Winter’s Bone (2010) by Debra Granik and The Big Sleep by Raymond Chandler. Winter’s Bone is a story tells the story of Ree Dolly’s (Jennifer Lawrence) struggle to find her missing father through various methods of detective work in her local community. In a similar manner, Raymond Chandler’s novel The Big Sleep defines the criminal investigation of various murders by the detective, Phillip Marlowe. These two plots define the similar use of a protagonist that acts as an investigator seeking to discover the truth of a particular

The film is about a group of 5 people fighting to find and keep the

The crime genre is about a crime that is being committed or was committed and may sometimes be an account of a criminal's life. Scarface displays many criminal that can blow one's mind and is in many ways an account of Montana's life as a drug lord. The film falls into the subgenre of crime, as a "gangster" film for the simple fact that it portrays a criminal organization with a level of organization and resources that