The five movies mentioned above where the first American movies to be published in France after the war in August 1946.
#NOIR FILMS MOVIE#
During the Second World War and the five years lasting occupation, American movie productions were banned from the big screens in France. The American thrillers „The Maltese Falcon (1941), Murder, My Sweet (1944), Double Indemnity (1944), Laura (1944) and The Woman in the Window (1944)“ could be deemed to be the impulsion for the coinage of the term film noir. 2.Film Noir 2.1 A brief overview of the history and development of film noir Concluding, the aspect of neo-noir will be taken into account and the decision will be made whether True Detective can be seen as a product of film noir. After a short summary of the series, the items themes, characters and narrative strategies will be explored and applied to the film noir schema. The choice has been made because many newspapers and articles considered True Detective as film noir and it was sapid to investigate whether this can be proven on facts or whether it is simply an assumption. After the theoretical foundation is made, the analysis of the HBO TV-series True Detective takes place. It will be explained what the features mentioned before are and how they are applied in film noir. voice-over and cut-backs is also representative. Cinematic features are not to be forgotten: the extensive use of e.g. Hence, themes and characters are part of this term paper. The characters are also quite dreary, there is a male victim, who gets seduced by a femme fatale and precisely that woman might be involved with the noir psychopath. Themes, like nihilism or pessimism are essential parts of film noir, but so is murder and corruption. Afterwards, the main elements that mark a film noir as film noir will be described. Therefore, the history of film noir and how it developed will be discussed tersely. First of all, it is important to provide a theoretical foundation. But what is film noir? And why does it appear so bleak? In this term paper, film noir as a movie genre in the 1940s will be examined and applied to the contemporary TV-series True Detective (2014). When researching for the topic of film noir, it is inevitable to stumble upon keywords like nihilism, femme fatales, post-war American life or the adjectives dark, gloomy and mysterious (Naremore 1998: 9).
The noir universe is dark, malign and unstable where individuals are trapped through fear and paranoia, or overwhelmed by the power of sexual desire (Spicer 2002: 4).
#NOIR FILMS SERIES#
Join us for this small sampling of Mexico’s film noir, especially selected from Filmoteca UNAM's collection, and enter a world of fedoras and ball gowns, murderers and saps, doomed love and forbidden obsession.2.1 A brief overview of the history and development of film noirģ.An Analysis of the Series True Detective as a Product of Film Noir The noir look, however, remains the same, with cinematographers like Gabriel Figueroa and the Canadian-born Alex Phillips as comfortable in the chiaroscuro realms of darkness and light as Hollywood artists like John Alton or Nicholas Musuraca. Rather than scheming, ice-cold femme fatales, the heroines here do not lure the men into that abyss, but join them willingly.
Rather than returning veterans (the staple of many a US noir), its heroes are typically suave, forward-thinking, modern men whose talk of enlightenment runs aground once they fall into an abyss of obsession. “What does desire mean to you?” one character asks “a force that ends up destroying you,” is the reply.Įnter a world of fedoras and ball gowns, murderers and saps, doomed love and forbidden obsession. Indeed, it’s not money or power that fuels these films, but mad love, with scripts flavored as liberally with Rimbaud or Dostoevsky as Chandler or Hammett. Filmed mostly during the Miguel Alemán Valdés presidency (1946–52), a time of enormous industrialization and sudden wealth creation, Mexico’s noirs reflect a surface world of progress and luxury, but haunted by primeval lusts and uncontrollable passion.
every bit the equal of what Hollywood was crafting.”- The Village Voiceįortune-telling con artists, murderous widows, alluring temptresses, and men who imagine themselves to be matadors, until they discover they’re the bulls: welcome to the world of the Mexican cine negro, or film noir, which takes the icy cool of the Hollywood noir and turns up the heat.
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