sensibility and a dark lighting style‚ such as Double Indemnity (1944)‚ Out of the Past (1947)‚ and The Postman Always Rings Twice (1946). Many theorists related the common noir attributes and aesthetic elements to a post war society characterised by insecurity about gender roles‚ the economy‚ changing definitions of race‚ and nuclear technology. One of the cultural problems the term genre attempts to address is the gender question. The familiarity of the femme fatale character across film noir is the predominant
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Marriage for a Femme Fatale is not a promise of love‚ romance and connection but rather one of unhappiness and darkness. In this film the family home is just a location to which displeasure thrives‚ and where Mr. Dietrichson hardly notices his wife both mentally and physically. In many noir films marriage life is almost sadistic‚ in Double indemnity it is clear that marriage and sexuality contrast each other‚ and that death and pleasure are the same thing. Another aspect of femme Fatale marriages in
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need to re-establish order. Femme’s fatales had to be brought to justice in the end because society was not ready for a world where the ‘good wife’ does not win out. The femme fatale is to be seen as a dark warning of what happens when the family unit is corrupted. All men that fall into her web of seduction are also punished and held up for example. The society needed these examples to scare the ‘little lady’ back into the kitchen. Phyllis Dietrichson from Double Indeminity (1944) is a classic example
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Distorted Environment‚ Immorality‚ Lust‚ Film Noir‚ Double Indemnity Double Indemnity is a film that involved a distorted and obscured environment that causes different moods and emotions. At the beginning of the film‚ you can observe the darkness of the city and careless drivers driving at a high speed. This atmosphere gives a feeling that there are mysteries‚ intensity‚ loneliness‚ sadness‚ horror‚ confusion‚ and danger. Double Indemnity involves self-destruction‚ disappointment‚ manipulation
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The Femme Fatale in Film Noir The pages of Film Noir are plagued with the corruption of political power and sexual depravity. This infestation has inspired a generation of screen-writers to forge the notoriously daring characters and settings of this dark genre. The Femme Fatale is not just the quintessential character eliciting fantasies of omnipotence and fantasy‚ but the subject of her narrative. Birthed from a society which lusted for wealth and exalted sexuality‚ the Femme Fatale has engulfed
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Susan Pickle ENG-111 Professor Gross Double Indemnity Double Indemnity Film Noir “Double Indemnity” is the classic example of the film noir style and also set some standards for movies to come. Film noir is not necessarily a type of genre but rather a tone that branched of from the crime/gangster sags of the 1930’s. It has certain elements such as crime‚ greed‚ and violence that are supposed to represent the same type of evils in society and of course a moral conflict at the base of the
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Double Indemnity The movie that I watched this week is a 1944 American film called‚ Double Indemnity. This film was directed by Billy Wilder‚ produced by Buddy Desylva and Joseph Sistrom and co-writen by Wilder and Raymond Chandler. The script was based off a 1943 novel with the same title and was written by James M. Cain. The film stars Fred MacMurray as Waler Neff an insurance salesman‚ Barbara Stanwyck as Phyllis Dietrichson a housewife who wishes her husband dead and Edward G. Robinson
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Journal 3 – Double Indemnity (7-14) “That’s all it takes‚ one drop of fear‚ to curdle love into hate” (Cain 54) – As soon as he set his eyes upon Mrs. Nirdlinger‚ Walter was in love. Both Walter and Phyllis may have an evident lust for money‚ but Walter’s infatuation with Phyllis’s being definitely encouraged his violent actions. It is interesting that Walter is already coming to realize this. Walter realizes what he has been lured in to and is trying to put some blame on Mrs. Nirdlinger’s sex appeal
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Alexander McQueen FEMME FATALE From victimization to femme fatale‚ Evans(2004) notes the progression of “prey” to a more powerful image of “predator”. Evans(2004) examines the differences between the 1890’s Femme Fatale and McQueen’s representation in his Dante collection1996. A key point made by Evans(2004) in terms of fin-de-siècle femme fatale is “the woman whose sexuality was dangerous even deathly‚ and whose terrifying allure would tinge the male desire with dread” 100 years later
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The Femme Fatale: Ambiguity and Death In cinema‚ the femme fatale is an enticing‚ exquisitely beautiful‚ erotic character who plays the ultimate trick of nature: she displays her beauty‚ captures the man and goes in for the kill. Unfortunately for this poisonous flower‚ male dominated western society interferes and kills the female predator in the end. In western cinema‚ the femme fatale can never survive‚ and can never “win” in the battle of the sexes. But why must this be so? What makes the
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