Cisneros Film Noir Assignment 1--How is the mood of Sunset Boulevard representative of the Film Noir style? The mood of the film is immediately established as decadent and decaying by the posthumous narrator - a dead man floating face-down in a swimming pool in Beverly Hills. As we fade backward into the story‚ we quickly come to understand that this film is about "behind the scenes" Hollywood‚ self-deceit‚ spiritual and spatial emptiness‚ and the price of fame‚ greed‚ narcissism‚ and ambition
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photography‚ It is because of my admiration of classic Hollywood movies I have decided to recreate Film noir style images that will look like film stills‚ most of them staged‚ models performing and dressed as different characters as expected in Film noir style movies. I see Film noir as stylistic approach to photography‚ it is beautiful and inventive cinematography that is still highly popular within modern film industry. What draws my attention to it is black and white contrast photos with intense shadow
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WHAT IS FILM NOIR? Actually‚ I am tempted to answer: "Film noir is a label which film critics use merely because it sounds good." The correct pronunciation is [film nwar] by the way. Originally‚ it is a French expression‚ meaning "black cinema". The term was borrowed from "roman noir"‚ gothic horror stories from 19th century England. The thing is that film noir cannot easily be defined. There are a few movies which most cineastes and critics label film noir‚ though. I would like to divide these
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Film noir "Film Noir" is a term that was applied to a style of American cinema that was popular in the 1930’s and 40’s. The term translates to "Black Film‚" which refers to both the characteristic lighting and the dark subject matter. Noir films often depict different aspects of the criminal underworld‚ and are most commonly set in the ’mean streets’ of the city. Many of the most recognizable early noir films were mysteries involving a hard-boiled detective like Sam Spade (played by Humphrey Bogart)
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Howell Film 2700 12 November 2012 Word Count: 1411 Film Noir to Neo-Noir: A Shift in Cultural Tides Film noir of the 1940s captivated audiences through its distinct form of storytelling. Strongly influenced by German Expressionism‚ these films have a definitive look and style that still resonates with modern audiences today. Like other classical Hollywood genres‚ film noir sought to bring to light tensions felt within society‚ namely those that affected men following World War II. Neo-noir films
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The male gaze is a concept that was first coined by Laura Mulvey‚ in her book ’Visual and Other Pleasures’‚ in which she suggests that angles and lighting in movies are used to objectify and hyper-sexualise female bodies in order to make them more appealing to male viewers. This concept can also often be applied to artworks‚ adverts and other imagery that we see in our everyday lives‚ from adverts talking about obscure things such as cat food‚ to lingerie and make-up adverts actually aimed at women
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IDEALISED BODY SUMMARY: THEORIZING THE MALE GAZE BY EDWARD SNOW Feminist analysis has revealed that when feminism characterizes “The male Gaze” certain motifs are almost sure to appear; voyeurism‚ objectification‚ fetishism‚ scopophilia‚ woman as the object of male gaze and the bearer of the male lack. Masculine vision is almost characterized as patriarchal‚ ideological and phallocentric. Gaulyn Studlar has observed that‚ the female can function for the male only as an object of sadistic spectatorial
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The term film noir can be defined as a style of film which was marked by a period of pessimism‚ self doubt and fatalism. The term was applied by French critics in the 1946 to a group of US films that were made during the war and that were released in quick succession after 1945. Ultimately there has been much debate surround the ambiguity of the term‚ but it is now understood that film noir is more of a narrative and stylistic tendency and ultimately “a critical category” rather than a genre in
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a British feminist film theorist‚ introduced the idea of the male gaze in her paper on visual pleasure and narrative cinema. She pinpoints the man as the active pro-tagonist in mainstream Hollywood movies (838). Mulvey believes that the audience‚ regard-less of sex or gender‚ identifies with the “active male figure” (838) due to the means of cine-matography and the rooted patriarchy in Western cultures. Thus‚ women in film become sub-ject to the gaze of the active – the male. However‚ I believe
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Film Noir‚ meaning “black film’ in French‚ was the trending style and genre in American culture between the 1940s and the 1950s. It is a combination of European cynicism and the American landscape. Film Noir has its origins from German Expressionism and French Poetic Realism. Nino Frank‚ who was a French film critic‚ was the first to introduce this black and white genre to Hollywood in 1946. Many of the directors who introduced Film Noir where refugees from Nazi‚ Germany. From that moment in time
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