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Journal articles on the topic 'Film noir'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Miller, Laurence. "How Many Films Noirs are there?: How Statistics can Help Answer this Question." Empirical Studies of the Arts 7, no. 1 (January 1989): 51–55. http://dx.doi.org/10.2190/1a3q-a3dq-23xg-6vg4.

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Film noir refers to a body of films made in America from 1940–1959 and which is defined by a characteristic and particular content and style. Although there is agreement as to what constitutes this content and style, there is considerable disagreement as to which films constitute film noir. Appropriate statistical analyses are performed given the constraints imposed by the current method of film scholars of independently deriving their particular lists of films noirs. Much more powerful statistical analyses are discussed. These would facilitate consensus regarding which films are film noir, but would require that all film scholars independently judge the same list of films.

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2

Liu, Siwei. "The Research on the Representational Strategies of Femme Fatale in Contemporary Chinese Film-noir." BCP Education & Psychology 8 (February 27, 2023): 314–22. http://dx.doi.org/10.54691/bcpep.v8i.4346.

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In 2014, Chinese director Diao Yinan’s feature Black Coal, Thin Ice wins the Golden Bear Award for Best Director at the 64th Berlin Film Festival, sparking enthusiastic discussion on the prospect of the so-called 'Chinese film-noir'. Among the classic noir elements that sparked discussion in these films, the lethal woman, or the ‘femme fatale’ stands out to be the one that attracts the most attention. In the span of a decade, the Chinese femme fatale varies quite enormously in her role in the narrative and the gender implication her relationship with the noir hero represents. This essay will build on Mark Conrad’s definition of film-noir, Jack Boozer’s categorization of femme fatale, and Elisabeth Bronfen’s tragic theory to analyze the construction of femme fatale in 2010s Chinese film noir. Equipped with these theoretical tools, this essay will focus on recent Chinese films-noirs and draw connections between their different representational strategy of the femme fatale to complete their noir narrative. This essay argues that while films like the Hunt Down (2019) and Long Day’s Journey Into Night (2018) approaches the lethal woman in the classic androcentric or even misogynist way, Black Coal, Thin Ice (2014) and the Wild Goose Lake (2019) endows her with more subjectivity and agency while complicating her relationship with the noir hero.

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3

Lee, Sander H. "Film Gris v. Film Noir." Film and Philosophy 26 (2022): 123–41. http://dx.doi.org/10.5840/filmphil202110158.

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In this essay, I argue that the distinction between film gris and film noir, introduced by Jon Tuska in his 1984 book Dark Cinema, enhances our appreciation of the philosophical attributes of such films. For Tuska, there are important differences between a film gris and a film noir. While a film gris may have a number of noir attributes (a shadowy noir visual style, a gritty urban setting, cynical characters, etc.) a genuine film noir is not merely a police procedural and must not have a happy ending, I will also argue that a film’s narrative perspective plays a vital role in determining whether its status is that of a film noir. I will make these arguments by examining a wide variety of films including The Maltese Falcon (1941), Out of the Past (1947), He Walks by Night (1948), The Narrow Margin (1952), Double Indemnity (1944), Repeat Performance (1947), and The Wrong Man (1956).

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4

Papadopoulos, Leonidas, Anna Poupou, and Eva Stefani. "The reception of American and French film noir in post-war Greece, 1945‐58." Journal of Greek Media & Culture 8, no. 1 (April 1, 2022): 59–82. http://dx.doi.org/10.1386/jgmc_00047_1.

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The aim of this article is to examine the distribution, promotion and critical reception of American and French film noir in Greece from 1944 to 1958 and to shed light to the reasons of the belated appearance of Greek noir examples. It is based on archival research that was made in the framework of the project ‘Film noir in Greece: Reception, assimilation, and imitation of a US film genre, from the post-war period until today’ (National & Kapodistrian University of Athens), financed by the Operational Programme Human Resources Development, Education and Lifelong Learning, P.A. 2014‐20. Crime thrillers that were retrospectively labelled as film noirs, were not only known and enjoyed by the Greek public from 1945 onwards, but also their conventions and imagery were used in the journalistic discourse, showing a wider diffusion to society that was not only limited to communities of cinephiles. From this perspective, we examine the vocabulary and terminology invented and established by Greek reviewers and distributors, in order to describe the key features of the films that today we classify as film noir. We discuss how emblematic films that today form the canon of film noir were received at that time, as well as the negative discourses that appear at the same time in the public sphere, especially around issues of ‘moral panic’, violence and delinquency. Furthermore, the distinction in the reception of French vs. American films enables us to apprehend the different ideological stances towards these films and to understand why French crime films were more influential in Greece than their American counterparts.

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5

Hickman, Roger. "Max Steiner." Journal of Film Music 9, no. 1-2 (February 24, 2022): 121–27. http://dx.doi.org/10.1558/jfm.20238.

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Max Steiner provided music for over 300 films during a distinguished career that extended over three decades. He is justifiably celebrated for his scores in multiple film genres, including historical epics, romances, horror movies, and dramas. Less well known are Steiner’s contributions to film noir. Yet he is a leading composer for this dark trend in Hollywood filmmaking. Three factors go into this assessment: the number of noir films that he scored, the prestige of those films, and the overall quality of his music. The span of Steiner’s noir composition is nearly identical to that of the era itself, which is generally defined as 1940–1959. Depending on which films are viewed as film noirs, Steiner is the third or fourth most prolific composer for the genre. Among these are classics such as Mildred Pierce, The Big Sleep, Key Largo, and White Heat, a roster of noir heavies unmatched by any other composer. For the most part, his music for these films consistently reflects traits that we associate with Steiner’s other film scores. This overview focus on two qualities in these films: the use of pre-composed music and thematic material as characterization. Included in this survey are Steiner’s scores for Mildred Pierce, The Woman in White, The Beast with Five Fingers, City for Conquest, and The Death of a Scoundrel.

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6

Gegen, Gegen. "Femme Fatale in French Film Noir." Advances in Humanities Research 1, no. 1 (December 21, 2021): 1–5. http://dx.doi.org/10.54254/ahr.2021001.

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The term film noir was coined by two French film critics Borde and Chaumenton in 1956 to describe American detective stories mode in the 1940s. Noir films were seen as a counter-cultural movement within Hollywood at that time, and the French new wave continued this feature in the 1960s. Therefore, the term noir itself connects the Frenchness and Americanness. This paper tends to map out the film noir sensibilities in French content through unfolding the characteristics of femme fatale in two French noir films Jean-Luc Godards A bout de souffle (Breathless) (1960) and Jean-Jacques Beineixs Diva (1981).

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Gegen, Gegen. "Femme Fatale in French Film Noir." Advances in Humanities Research 1, no. 1 (December 21, 2021): 1–5. http://dx.doi.org/10.54254/2753-7080/1/ahr_001.

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The term film noir was coined by two French film critics Borde and Chaumenton in 1956 to describe American detective stories mode in the 1940s. Noir films were seen as a counter-cultural movement within Hollywood at that time, and the French new wave continued this feature in the 1960s. Therefore, the term noir itself connects the Frenchness and Americanness. This paper tends to map out the film noir sensibilities in French content through unfolding the characteristics of femme fatale in two French noir films Jean-Luc Godards A bout de souffle (Breathless) (1960) and Jean-Jacques Beineixs Diva (1981).

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8

Toderici, Radu. "Late Modernist Noirs: Béla Tarr’s Damnation/ Kárhozat and György Fehér’s Passion/ Szenvedély." Caietele Echinox 43 (December 1, 2022): 104–13. http://dx.doi.org/10.24193/cechinox.2022.43.06.

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"Since the 80s, a large number of films, manifestly indebted to the classic American noir films of the 40s and 50s, have been appropriately labeled neo-noirs. An interesting, but less well documented version of this phenomenon, mostly American in its nature, is the case of some of the films belonging to the so-called Hungarian “Black Series”. Made at the end of the 80s and during the 90s, these films are modernist, stylized versions of the classic noir films. This essay tries to give an outline of this East European reappraisal of the noir film, by insisting on the narrative and aesthetical strategies used by directors such as Béla Tarr or György Fehér in order to deconstruct the classical genre."

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9

Zhu, Xinchen. "Transcultural Appropriation and Aesthetic Breakthrough of Hollywood Film Noir in Contemporary Taiwan Suspense Thriller Films: A Case Study of Who Killed Cock Robin (2017)." Arts 13, no. 3 (May 28, 2024): 96. http://dx.doi.org/10.3390/arts13030096.

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The production of suspense thriller films has recently surged in Taiwan. These films adopt narrative techniques and visual aesthetics reminiscent of classic and neo-noir Hollywood cinema but also address social issues in Taiwan and represent transcultural aesthetic appropriation of film noir. This article employs a case study approach to examine the narrative and visual style of the Taiwanese suspense thriller Who Killed Cock Robin (2017), using film narratology as a textual analytical framework. This study considers themes, characters, visual style, and narrative structures, focusing on fundamental characteristics of classic film noir and neo-noir. This study reveals that the selected film both appropriates and deviates from the aesthetics of Hollywood film noir. It effectively incorporates aesthetic elements from classic Hollywood film noir and neo-noir, enriching the intricacies of storytelling and character depiction, while also localizing them through complex narrative strategies and nuanced Taiwanese cultural and social elements. The film brings attention to several prevalent issues in Taiwan’s media landscape, including truth manipulation, sensationalism, tabloidization, and conglomerate and political control. The film portrays Yi-Chi as a morally compromised character embodying the detective archetype with classic noir traits, while also reflecting the “Eastern mentality” in Taiwan journalism. Despite his moral compromises, Yi-Chi partly retains traditional virtues, presenting a nuanced view of human nature that blends pessimism and optimism in Taiwan. This approach creates a distinct cross-cultural narrative that resonates emotionally with Taiwanese audiences, while also contributing to the broader global cinematic discourse on film noir.

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10

Varmazi, Eleni, and Funda Kaya. "Debates about the generic ontology of film noir." Catalan Journal of Communication & Cultural Studies 12, no. 1 (April 1, 2020): 145–52. http://dx.doi.org/10.1386/cjcs_00019_1.

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This viewpoint discusses the various definitions given to classic film noir in order to show how the concept of film noir is difficult to demarcate as a genre, remaining a debatable subject among theoreticians. On a broader level, it might be argued that these discussions are linked with the intertextuality, the dynamism and the hybridity of film genres. One can also argue that film noir stands as one of the preliminary examples of such hybridity in the history of Western narrative cinema. Such a debate is also connected to film noir’s deviance from Hollywood conventions. While inhabiting elements from these conventions, classic noir has been affected by European film movements whilst influencing them. Noir holds a critical position to the social conditions of its era, defined usually from the early 1940s to the late 1950s. It also produces generic stereotypical characters such as the ‘hardboiled’ detective and the femme fatale that are both embraced and highly criticized by film theoreticians. However, film noir is an ambivalent concept, a category of films that can be sensed, yet resists delimitation within strict boundaries.

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11

SANTOS, SHEROD. "FILM NOIR." Yale Review 97, no. 1 (January 2009): 52–53. http://dx.doi.org/10.1111/j.1467-9736.2009.00470.x.

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12

Petković, Rajko. "Claustrophobic Spaces and the Atmosphere of Fatalism in Robert Siodmak’s The Killers." CLOSED SPACES XIII, no. 43 (December 2022): 109–26. http://dx.doi.org/10.31902/fll.43.2022.6.

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Film noir is one of American cinema’s most renowned and well-studied phenomena. It is a cycle of films made during the 1940s and 1950s, mostly produced as B-movies, i.e., cheaper films presented as part of a double feature. This is one of the most important reasons why it took such a long time for American film scholars to address the importance of film noir. The first monograph on film noir, Panorama du film noir américain, was published in France in 1955, and this work by Borde and Chaumeton remains one of the most valuable studies covering this important cycle. Generally speaking, French film scholars are those most responsible for highlighting the value of American, and especially Hollywood, film while significant American contributions to the study of film noir only began in the 1970s. Like few American films that preceded it, The Killers presented a completely dark world filled with hapless protagonists, where the only location that evokes even a glimmer of happiness is a terrace on the edge of the city. All other locations are a vivid reflection of the state of mind of the film’s main characters, lost in the dark labyrinths of the metropolis, victims of the unfathable threads that fate uses to play with their lives. Utilizing a combination of extremely claustrophobic locations and flashbacks that further fragment an already very complex narrative, Siodmak created a work that is one of the most faithful evocations of fatalism in American film.

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13

Smith, Steven G. "The Filter and the Viewer: On Audience Discretion in Film Noir." Film-Philosophy 28, no. 2 (June 2024): 375–94. http://dx.doi.org/10.3366/film.2024.0273.

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To the French critics who originally labelled certain films noir it seemed that a class of Hollywood products had gone darker during the war years – as though a dark filter had been placed over the lens. Films were not designed or marketed as noir, and retrospectively noir's status as a genre is still unsettled. Yet there is widespread interest today in experiencing diverse films as noir, and even in using a Noir Filter in Instagram and video games. Pursuing the filter clue, the noir experience can be thought of as subjection to a dark filtering of narrative. Image filtering styles can help to resolve not only the puzzle of noir's quasi-genre status but also an issue of general interest in aesthetic experience. The use of image filters makes a distinctively powerful contribution to the experience of a work or genre, or to the cultural dominance of an aesthetic regime, due to the unobtrusive formative role it plays in the economy of experience.

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14

Zeng, Li. "So Close to Paradise (1999) and The Missing Gun (2002): Hollywood Models and the Production of Film Noir in Chinese Cinema at the Turn of the Twenty-first Century." Journal of American-East Asian Relations 20, no. 1 (2013): 48–67. http://dx.doi.org/10.1163/18765610-02001007.

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Film noir is new to the cinema of the People’s Republic of China. It was not easy for noir’s dark themes and nihilistic tone to get past the state’s strict censorship; however, at the turn of the twenty-first century, a few noir films were produced. Chinese noir has a strong affinity with American film noir in its representation of social and spatial transformation and exploration of critical issues under strict censorship. This essay presents a close analysis of So Close to Paradise (Wang Xiaoshuai, 1999) and The Missing Gun (Lu Chuan, 2002) and argues that Chinese noir is a creative and localized adaptation of a Hollywood genre. Innovative in their application of noir form and style, these films criticize corruption and class conflict in contemporary China and reflect ordinary people’s feelings of alienation and frustration provoked by the transformation of urban space. This essay also studies the strategies the two films employ, such as ambiguity and genre hybridity, to get past official censors while still maintaining their critical depth and subversive messages.

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15

Gerhard, Atalie. "American Veteran Noirs: Investigating Exceptionalism and Its Post-World War II Trauma." Hungarian Journal of English and American Studies 30, no. 1 (May 1, 2024): 203–26. http://dx.doi.org/10.2478/hjeas/2024/30/1/10.

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Abstract This essay looks at some of the American film noir that focus on traumatized veterans in the post-World War II era, up to the twenty-first century and argues that noir thrillers centering on mentally disturbed veterans of World War II allow for both commemoration and criticism of the global interventionism that American exceptionalism legitimized during the Cold War and the Wars on Terror. Paradigmatic noirs construct traumatized veterans to investigate their symptoms of amnesia and paranoia as responses to historical interventions. While the analysis of Fred Zinnemann’s Act of Violence (1948) challenges idolizations of members of the Greatest Generation as morally superior immediately after their return home, that of Alan Parker’s Angel Heart (1987) probes into how the projection of a Faustian tale upon amnesia connects a post-World War II identity conflict to an anti-communist climate ripe with social tensions. The third veteran noir, the post-9/11 film Shutter Island (2010) by Martin Scorsese, conclusively reveals how two paranoid narratives overlap in the films under scrutiny, aiming to deconstruct the patriotic trope of American heroism in their subtexts. (AG)

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16

Dominkova, Petra. "Melodrama noir: Beyond the Forest and Leave Her To Heaven." AVANCA | CINEMA, no. 14 (January 5, 2024): 615–19. http://dx.doi.org/10.37390/avancacinema.2023.a552.

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While at first sight, there is not much in common between the genre of melodrama (or romance) and film noir, there are films that may fit into both categories. My presentation will focus on how is it even possible when, for instance, the requirements for the female characters are radically different between melodrama and nfilm noir. On one hand, we need a woman that – quite necessarily – suffers and is being manipulated by others (melodrama; as discussed, for instance by Sarah Kozloff in Overhearing Film Dialogue) while on the other we have a woman that is often a leading character and is the one that manipulates others (nfilm noir). Besides that, while melodrama is focused on romantic relationships and/or family life, it is something that is mostly missing from film noir. But still, we may argue that there are films that may be understood as “melodrama noir.” The following paper will focus mostly on two case studies: Beyond the Forest (King Vidor, 1949), and Leave Her for Heaven (John M. Stahl, 1945) that will prove different approaches to this unique mixture of two genres (provided we understand nfilm noir as a genre, that is problematic, and might be a presentation on its own).

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Markhaichuk, Nataliia, Natalia Riabukha, and Volodumur Tarasov. "“BLACK MOVIES”: GENRE MEMORY OF THE NOIR FILM LANGUAGE IN THE SYSTEM OF AUDIOVISUAL TRANSFORMATIONS (1970s – 2010s)." Journal of V. N. Karazin Kharkiv National University, Series "The Theory of Culture and Philosophy of Science", no. 63 (May 31, 2021): 57–67. http://dx.doi.org/10.26565/2306-6687-2021-63-07.

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The issue of “genre memory” in the noir film language is one of the most relevant problems in the modern study of “black” cinema evolution. In spite of the fact that in the recent years, noir has significantly expanded its traditional artistic “cover”, the study of features and ways of its transformation is one of priority vectors of the research. In the context of audiovisual transformations of the early 21st century, noir is represented by at least two genre constructions (post-noir and neo-noir), which also need to be studied in areas related to “diffuseness” of genres and “hybridization” of artistic film language. The main stages of the formation of noir genre paradigm are considered by the authors. These stages are defined and analyzed in the context of tools of artistic film language: compositional and plastic techniques, stylistic solutions and “genre iconography”. Defining three main periods in the development of the “black” cinema, the authors outline its main typical-specific roles, which form various strategies and forms of existence of classical “genre memory” of noir in different systems of cinematic art thinking. Noir showed an extremely high potential for modification, which led to the expressiveness of its subgenre convention. Example of a number of films shows how directors use or borrow traditional aesthetics of noir with the help of expressive means of cinema. In many cases, semiotics of the “black” cinema becomes an object for the search for new artistic and stylistic solutions, which further confirms the genre elasticity of noir. All of the above allows us to state the existence of a kind of “noir” ontology in artistic film tools, which first of all appeals to the lacuna of “genre memory” using particular range of techniques.

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18

Beugnet, M. "European Film Noir." Screen 49, no. 4 (December 1, 2008): 495–98. http://dx.doi.org/10.1093/screen/hjn059.

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19

Wilson, Ron. "European Film Noir." Historical Journal of Film, Radio and Television 30, no. 4 (December 2010): 568–70. http://dx.doi.org/10.1080/01439685.2010.509986.

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20

Gorrara, C. "European Film Noir." French Studies 62, no. 4 (October 1, 2008): 509–10. http://dx.doi.org/10.1093/fs/knn089.

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21

Smoliński, Sebastian. "Bezdroża i długie trwanie filmu „noir”." Kwartalnik Filmowy, no. 123 (September 27, 2023): 240–46. http://dx.doi.org/10.36744/kf.1719.

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Książka Patrycji Włodek „Wszystko noir?”. O inspiracjach i wariantach – życie po życiu film noir (2022) jest analizą wybranych aspektów czarnego kryminału łączącą refleksję nad kinem klasycznym z omówieniem najnowszych dzieł gatunku. Autorka ogranicza perspektywę do kina amerykańskiego i szuka powtarzalnych tropów (np. femme fatale i homme fatale) oraz przykładów tematycznego i narracyjnego wykorzystania pojęcia gaslighting. Na szczególną uwagę zasługują rozważania autorki o filmie noir jako nurcie osadzonym w konkretnych przestrzeniach (np. rural-noir, Cal-noir) i podatnym na mariaż z innymi podgatunkami (stoner noir). Ograniczenie pola badań do kina amerykańskiego uniemożliwia jednak głębsze osadzenie filmu noir w kontekście globalnym. Włodek nie stawia przy tym pytania o przyczyny niesłabnącej popularności czarnych kryminałów i ich dzisiejszą funkcję kulturową oraz ideologiczną. Wartością pracy jest jednak odwołanie się do licznych dzieł spoza kanonu filmu noir.

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Orozbaev, K. N. "The Aspects of Body in American Film Noir (1941-1955)." Journal of Flm Arts and Film Studies 9, no. 3 (September 15, 2017): 132–45. http://dx.doi.org/10.17816/vgik93132-145.

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The article is devoted to the issue of a body and body-ness in the American film noir classics. It examines the stylistic role of body-ness implying substantivity and corporality of film images and explores the types of male and female human bodies in their specific semantic, structural and visual functions. The analysis is argued by references to different noirs.

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23

Zhang, Yingqi. "Analysis of Technological Development and Enhancement in Modern Film Noir." Art and Society 3, no. 3 (June 2024): 70–73. http://dx.doi.org/10.56397/as.2024.06.08.

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This paper explores the visual and technological evolution of film noir, particularly the transition from classic to modern film noir. Originally defined by French film critics, film noir is known for its distinctive low-key lighting and strong visual contrasts, emphasizing a mysterious and dramatic visual presentation. The article first compares low-key lighting in traditional and modern film noir, highlighting modern advancements in controlling lighting and shadows. It then examines color usage in both eras, noting modern noir’s use of low saturation and vivid colors for enhanced emotional impact. Lastly, it explores modern technology’s role in restoring classic film noir, emphasizing high-resolution scanning and digital processing for improved visual and auditory quality while preserving artistic style. These analyses underscore film noir’s adaptation to technological advancements in global cinema. Through these analyses, the paper reveals how film noir has adapted to technological advancements to maintain its significant place in global cinematic art. Nonetheless, it acknowledges limitations, primarily focusing on visual and technological aspects while neglecting potential socio-cultural, political, and economic influences on the genre. Future research could address these gaps by exploring interdisciplinary perspectives and incorporating quantitative methods to provide a more comprehensive understanding of film noir’s evolution.

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Butler, Brian. "Dan Flory (2008) Philosophy, Black Film, Film Noir." Film-Philosophy 14, no. 1 (February 2010): 332–36. http://dx.doi.org/10.3366/film.2010.0016.

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Hamzah, Abdul Wahab. "Myth, Neo-Colonialism and Neo-Noir in Two Films by Dain Said." Malay Literature 31, no. 2 (December 1, 2018): 383–92. http://dx.doi.org/10.37052/ml.31(2)no8.

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Dain Said is one of the most reputable Malaysian film directors. Two of his films, Bunohan (2011) and Interchange (2016), not only won him awards for best film and best director but were also screened in many respected world film festivals. Bunohan and Interchange have a reputation of being different from many ordinary contemporary Malay films. Both films contain the similar theme of killing in their plots with a dark noirist approach, but killing is only on the surface of their multi-layered narratives. In both films, Dain is interested in the interweaving myth, imperialism and capitalism in the conflict of tradition and modernization. Even though myth has been imbued with fantastic elements, it becomes part of the ideological process of naturalization and has its own role in the origin of the race, history, and identity of a country. Colonialization and capitalism have been gradually destroying traditional cultures and myths that are part of a nation’s ideology. This essay analyzes how traditional cultures and mythologies should become the important elements in resisting the dangers of neo-colonialism that is called globalization. Here, the films Bunohan and Interchange have proved that Dain Said is a film auteur in his own class. Keywords: myth, colonialism, auteur, Malay film, neo-noir Abstract Dain Said salah seorang pengarah filem Malaysia yang berkemampuan tinggi. Dua filem arahannya, Bunohan (2011) dan Interchange (2016) bukan sahaja memenangi anugerah filem terbaik dan pengarah terbaik malah banyak ditayangkan di festival filem dunia yang berprestij. Bunohan dan Interchange berbeza dengan kebanyakan filem Melayu kontemporari. Kedua-dua filem memaparkan tema dan plot yang sama, iaitu pembunuhan dengan pendekatan noirist. Walau bagaimanapun pembunuhan hanya lapisan permukaan yang terdiri daripada beberapa lapis naratif. Dalam kedua-dua filem Dain berminat dengan menggabungkan mitos, imperialisme dan kapitalisme dalam konflik tradisi dan modern. Walaupun mitos bercampur dengan elemen fantasi, tetapi mitos menjadi sebahagian proses ideologi peneutralan. Mitos mempunyai peranannya dalam asal usul bangsa, sejarah dan identiti negara. Kolonialisasi dan kapitalisme dalam diam membunuh budaya tradisi dan mitos yang menjadi sebahagian daripada ideologi negara. Makalah ini menganalisis budaya tradisi dan mitos yang sepatutnya menjadi elemen penting dalam menolak perangkap neo-kolonialisme atau lebih dikenali sebagai globalisasi. Filem Bunohan dan Interchange membuktikan Dain Said sebagai filem auteur yang mempunyai kelasnya yang tersendiri. Keywords: myth, Colonialism, Auteur, Malay film, Neo-Noir

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Cameron, Ed. "“I Like to Remember Things My Own Way”: Metaleptic Nostalgia in the Neo-noir Cinema of David Lynch." Genre 54, no. 3 (December 1, 2021): 341–67. http://dx.doi.org/10.1215/00166928-9407597.

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This essay focuses on the possibility of articulating a form of nostalgia in film not tied to an opposition to irony. It concentrates on the neo-noir cinema of David Lynch precisely because he is a master of balancing nostalgic sincerity and postclassical irony within the same film. Therefore, the essay argues that the films of David Lynch present the viewer with a way out of the postmodern deadlock where nostalgia remains less radical than irony. To make this argument, the essay utilizes Giambattista Vico's notion of the ricorso from book 5 of The New Science in order to situate Lynch's unique position within the history of film noir as a genre. Vico's poetic developmental scheme, which relies on the “four master tropes” (metaphor, metonymy, synecdoche, and irony), is adapted to the historical evolution of film noir as a genre. The essay then translates Vico's ricorso into a fifth master trope, metalepsis, and connects Lynch's form of postnostalgic uncanny (and Vico's ricorso) to metalepsis (in both the tropological and narrative sense) to show how Lynch moves neo-noir beyond the structure of irony without flirting with the new sincerity or metamodernism.

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Menegaldo, Gilles. "Flashbacks in Film Noir." Sillages critiques, no. 6 (December 1, 2004): 157–75. http://dx.doi.org/10.4000/sillagescritiques.1561.

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Conley, Tom. "Stages of "Film Noir"." Theatre Journal 39, no. 3 (October 1987): 347. http://dx.doi.org/10.2307/3208154.

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Young, Kevin. "Film Noir (The Chase)." Grand Street, no. 68 (1999): 204. http://dx.doi.org/10.2307/25008510.

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Leach, Jim. "Andrew Spicer, Film Noir." Journal of British Cinema and Television 2, no. 2 (November 2005): 363–65. http://dx.doi.org/10.3366/jbctv.2005.2.2.363.

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Conley, Tom. "Locations of Film Noir." Cartographic Journal 46, no. 1 (February 2009): 16–23. http://dx.doi.org/10.1179/000870409x430960.

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DINERSTEIN, JOEL. "“Emergent Noir”: Film Noir and the Great Depression in High Sierra (1941) and This Gun for Hire (1942)." Journal of American Studies 42, no. 3 (December 2008): 415–48. http://dx.doi.org/10.1017/s0021875808005513.

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This article theorizes a new periodization for film noir through a prewar category of “emergent noir”: seven films released between 1940 and 1942 – including The Maltese Falcon and Citizen Kane – that defined the genre's thematics, aesthetics, visual style, and moral ambiguity. Using archival research and trauma theory, the article analyzes High Sierra and This Gun for Hire as case studies of “failure narratives”: each film resonated with American audiences by validating the recent suffering of the Great Depression, allowing for a vicarious sense of revenge, and creating new ideals of individuality and masculinity. Both films were surprise box-office hits and created new film icons for the 1940s: Humphrey Bogart, Alan Ladd, and Veronica Lake. All three were embodiments of “cool,” a concept herein theorized as a public mask of stoicism.

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Hasan, Haris. "The Lethal Film Noir Femme Fatale : A Precursor To Bond Girls In James Bond Films." Journal of Women Empowerment and Studies, no. 21 (December 23, 2021): 21–25. http://dx.doi.org/10.55529/jwes.21.21.25.

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Film noir as a film making style gained prominence in a post world war II world. The filming style of noir with its unique americanization became a force of sorts in the mid 1940’s and in much part of the post war booming decade of 50. One of the interesting contribution of film noir apart from aesthetics of visual and lighting techniques is the depiction of female characters which came to be known as femme fatale. Femme fatale in its synonyms and various contours came to be recognized as a character with its diabolical charm and fatal attraction became the reason for the ultimate demise of the male protagonist. The development of femme fatale chracters also paved way for future fetishization of female characters in cinema. The highly popular 007 Bond series is an excellent nursery of sorts where the female characters often found themselves to be either femme fatale or femme atrappe. The paper aims to establish some of the occurrences of this sort of character in Bond films and how their resemblance with the ones in the film noir era was an experiment in creating fierce female characters on the celluloid. The depiction and celluloid portrayal in a way helped establish and explore the various contours of female characters.

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Zhong, Ouyuan. "The Transition of Film Noir into a Genre of Crime Cinema." Communications in Humanities Research 18, no. 1 (December 7, 2023): 14–21. http://dx.doi.org/10.54254/2753-7064/18/20231105.

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Some have underrated Film Noir due to some misconception that it is solely limited to black-and-white imagery. However, it encompasses much more than that. It supports an aesthetic and serves as a foundational pillar for crime cinema. This paper will use formal techniques such as diegesis, montage, mise-en-scne, camera angle, and camera movement to analyze two scenes from crime cinema. One example is The Naked City, a quintessential Film Noir that employs chiaroscuro lighting to accentuate the criminal narrative. Another illustrative instance is The Taking of Pelham One Two Three. The argument surrounding Film Noir and crime cinema reveals different depictions of geographical space, yet they share similarities in their representations of themes, including war trauma, masculinity, and class. The Naked City employs a straightforward approach to represent its unique landscape, effectively connecting external and internal spaces. The Taking of Pelham One Two Three uses transportation and currency symbols to establish distinct space connections. Both films, produced in the post-war era, allow for allegorical exploration of auteurs imagination and re-imagination through cinematic elements. These elements ambiguously craft narratives that intricately blend aesthetics and ideology. In this case, the transition of Film Noir into the realm of crime cinema influences the development of modern cinema.

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Żyto, Kamila. "Detours of absurdity: Coen brothers’ Fargo in the noir melting pot of genre patterns." Literatura i Kultura Popularna 24 (April 18, 2019): 39–54. http://dx.doi.org/10.19195/0867-7441.24.4.

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Detours of absurdity: Coen brothers’ Fargoin the noir melting pot of genre patternsThe idea of film noir, especially neo-noir, viewed as a stable and clear genre has as many supporters as detractors. The controversy is nothing new, and a compromise is still elusive. The reason for such an impasse is not merely the intransigent stance of opponents, the strength of their arguments, but is also a result of the hybridization of genres in main stream cinema and elsewhere. I discuss the problem presented by film noir in the context of the question of generic identity on the example of the Coen brothers’ Oscar-winning Fargo. The movie is an interesting case study as it does not make use of any of the genres typical for film noir in its unadulterated form i.e. genres associated with film noir in its classical era. In Fargo, Joel and Ethan Coen skillfully combine elements of the detective story though not necessarily associated with hard-boiled fiction with crime shows, gangster movie with thrillers about psychopaths, comedy with tragedy and family drama with melodrama of mischance. The result remains the same — the world of Fargo stays noir, dark and pessimistic and permeated with the absurd.

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Smith, Eric D. "No Exit: Death Drive, Dystopia, and the Long Winter of the American Dream in Harold Ramis’s The Ice Harvest." Utopian Studies 34, no. 3 (November 2023): 380–98. http://dx.doi.org/10.5325/utopianstudies.34.3.0380.

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ABSTRACT This article examines Harold Ramis’s 2005 noir comedy The Ice Harvest as the critically dystopian counter-panel to his beloved 1993 film Groundhog Day, a film frequently discussed within the paradigm of utopia. While starkly different in genre, tone, and reception, the two films comprise a dialectical dyad that registers the historical transition from the utopian cultural effervescence of the early 1990s to the tragic foreclosure of imaginative horizons and the dystopian transformation of economic, political, and social landscapes in the new millennium. In The Ice Harvest, the author argues, this is achieved through a strategic reactivation of film noir as a variant of the critical dystopia.

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Antoniak, Krzysztof. "L.A. Confidential as a Re-Creation of American Noir Tradition." Annales Universitatis Mariae Curie-Skłodowska, sectio FF – Philologiae 36, no. 2 (January 18, 2019): 131. http://dx.doi.org/10.17951/ff.2018.36.2.131-145.

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<p>Elementy literatury hard-boiled i filmu noir są obecne we współczesnej literaturze i mediach wizualnych, ale motywy i postacie z klasycznych tekstów noir zostały odkryte na nowo. Artykuł udowadnia, że film L.A. Confidential może być postrzegany jako odtworzenie amerykańskiej tradycji noir, a powieść Jamesa Ellroya zaklasyfikowana jako literatura hard-boiled. Autor analizuje postacie detektywów przedstawione zarówno w książce, jak i w filmie oraz bada dzieło w kontekście retronoir, skupiając uwagę na postaci femme fatale, roli miasta i sposobie przedstawienia brutalności.</p>

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Moldovan, Raluca. "A Romanian Jew in Hollywood: Edward G. Robinson." American, British and Canadian Studies Journal 22, no. 1 (August 15, 2014): 43–62. http://dx.doi.org/10.2478/abcsj-2014-0022.

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Abstract The present study aims to investigate the contribution that actor Edward G. Robinson brought to the American film industry, beginning with his iconic role as gangster Little Caesar in Mervyn Le Roy’s 1931 production, and continuing with widely-acclaimed parts in classic film noirs such as Double Indemnity, The Woman in the Window and Scarlet Street. Edward G. Robinson was actually a Romanian Jew, born Emmanuel Goldenberg in Bucharest, in 1893, a relatively little known fact nowadays. By examining his biography, filmography and his best-known, most successful films (mentioned above), I show that Edward G. Robinson was one of classical Hollywood’s most influential actors; for instance, traits of his portrayal of Little Caesar (one of the very first American gangster films) can be found in almost all subsequent cinematic gangster figures, from Scarface to Vito Corleone. In the same vein, the doomed noir characters he played in Fritz Lang’s The Woman in the Window and Scarlet Street are still considered by film critics today to be some of the finest, most nuanced examples of noir heroes. Therefore, the main body of my article will be dedicated to a more detailed analysis of these films, while the introductory section will trace his biography and discuss some of his better-known films, such as Confessions of a Nazi Spy and Key Largo. The present study highlights Edward G. Robinson’s merits and impact on the cinema industry, proving that this diminutive Romanian Jew of humble origins was indeed something of a giant during Hollywood’s classical era.

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Kálai, Sándor, and Anna Keszeg. "A hard-boiled krimi lehetőségei Magyarországon (Kondor Vilmos: Budapest noir, Gárdos Éva: Budapest noir)." Apertura 14, no. 4 (2019): 1–20. http://dx.doi.org/10.31176/apertura.2019.14.4.1.

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Tanulmányunkban Kondor Vilmos Budapest noir című regényét (2008) és Gárdos Éva Budapest Noir (2017) című filmjét elemezzük a hard boiled krimi és a film noir műfaji hagyományainak meghonosíthatósága szempontjából. A zsánerkérdést mindkét esetben a lokalizációs technikák és a térkezelés problémájára szűkítjük. A tanulmány első részében felvetjük a hard-boiled vagy kemény krimi és a film noir közötti folytonosság kérdését, hogy a második részben a két fókuszált szövegelemzés segítségével a műfaji minták késői adaptálásának jelenségét vizsgáljuk meg. Következtetésünk az, hogy Kondor regénye a műfaji minta kritikai, Gárdos filmje pedig a műfaji minta nosztalgikus adaptációját adja.

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Miller, Laurence. "Classification of Psychopathology According to a Scientific (Psychology and Psychiatry) and an Artistic (Film Noir) Perspective." Psychological Reports 61, no. 1 (August 1987): 287–99. http://dx.doi.org/10.2466/pr0.1987.61.1.287.

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Psychopathology can be studied from a scientific or artistic perspective. While there are important differences between the two perspectives, similarities also exist. Recognition of these similarities and differences provides a treatment of psychopathology different than that provided by either perspective alone. The classification by the sciences of psychology and psychiatry and the art-form motion picture genre called film noir is discussed. Film noir was chosen because, like psychology and psychiatry, psychopathology plays a central role, and it is presented in a cohesive and consistent manner. Classification is discussed in the context of the Diagnostic and Statistical Manual of Mental Disorders (DSM). If film noir is classified according to DSM, it can be seen that film noir presented almost all of the classes of psychopathology and many of the categories, as well as several other important aspects about psychopathology.

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Bennett, Matt. "L'Art Noir: The Perfidy of Images in Film Noir." International Journal of Literary Humanities 15, no. 1 (2017): 9–14. http://dx.doi.org/10.18848/2327-7912/cgp/v15i01/9-14.

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Wu, Liaoliao. "Contemporary Global Noir in Post-Colonialism Trans-Cultural Communication." Art and Society 2, no. 2 (April 2023): 24–31. http://dx.doi.org/10.56397/as.2023.04.04.

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As globalisation intensifies, the world circulation approach of cinema becomes increasingly complicated. As a general concept, film noir not the exclusive domain of a particular nationality, this type of film is produced and distributed in different cultures and regions around the world. This research attempts to break the binary divisions of cultural studies and film criticism arising from post-colonialism, considering film noir as a worldwide film concept.

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Lott, Tommy L. "Film Noir, Realism, and the Ghettocentric Film." Film and Philosophy 16 (2012): 148–61. http://dx.doi.org/10.5840/filmphil20121611.

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최춘식. "Film policier, Film noir à la française." ASSOCIATION CULTURELLE FRANC0-COREENNE ll, no. 20 (May 2010): 65–91. http://dx.doi.org/10.18022/acfco.2010..20.003.

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Castells-Talens, Antoni. "Surveillance, Security, and Neo-noir Film: Spike Lee’s ‘Inside Man’ As a 9/11 Counter-narrative." Tripodos, no. 51 (January 27, 2022): 109–28. http://dx.doi.org/10.51698/tripodos.2021.51p109-128.

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After the 9/11 terrorist attacks of 2001, a patriotic narrative permeated all aspects of US society. Planned and executed by the George W. Bush administration and reproduced by the media and by other social institutions, the narrative of the War on Terror permeated all aspects of society with little opposition. A few weeks after the attacks, Congress passed the Patriot Act, a bill that redefined security and surveillance in the United States. The new act contributed to the erosion of civil rights. This article analyzes how Spike Lee’s Inside Man (2006), a film that critics interpreted as a commercial thriller when it was launched, employs resources from film noir and neo-noir to construct a counter-narrative on security and surveillance. Through a plot that causes confusion, a distinct visual style, a typically noir role of the hero, and hidden references to a 9/11 theme, the film borrows elements from classical film noir and from eighties neo-noir to take a firm stand against the US response to the terrorist attacks. The movie removes the mask of the dominant narrative by showing a structurally corrupt system.

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Huszár, Linda. "A noir európaisága. Peter Lorre, a film noir emblematikus figurája." Apertura 14, no. 4 (2019): 1–37. http://dx.doi.org/10.31176/apertura.2019.14.4.4.

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A film noir képlékeny identitásának, átmenetiségének egyik hordozója annak „európaisága”, a tanulmány ezt az egyszerre külső és belső vonatkoztatási rendszert vizsgálja. A noir transzkulturalitásának, összetett, egymásba fonódó hatás- és visszahatástörténeteinek szemléltetéséhez Peter Lorre emblematikus figuráját használom fel, aki – ahogyan azt a The Face Behind the Mask és a Der Verlorene felmutatja – egyben médiuma annak a klasszikus noir tematikának, amely a jelent és a múltat egyaránt belakni képtelen egyén identitásdrámáját a vissza nem hozható idő és tér traumatikus tapasztalatának narratívájába helyezi.

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Krutnik, Frank. "Cornell Woolrich and Radio Noir." Crime Fiction Studies 4, no. 1 (March 2023): 27–44. http://dx.doi.org/10.3366/cfs.2023.0083.

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Of all the writers to transition from pulp magazines to noir movies, Cornell Woolrich was by far the most prolific. The heyday of ‘classic’ Hollywood film noir saw not only seventeen films based on Woolrich properties but also over seventy radio dramas and a large number of television adaptations that would continue into the early 1960s. Drawing on a range of critical and archival materials, this article assesses Woolrich's contribution to radio drama in the classic noir era and explores several adaptations of his 1936 story ‘The Night Reveals’, one of the most popular selections on the acclaimed CBS anthology series Suspense (1942–62).

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Downey, Dara Patricia. "Just Look At Me Now: Problems of Viewing in Film Noir: Edward Dimendberg (2004) Film Noir and the Spaces of Modernity." Film-Philosophy 10, no. 3 (October 2006): 80–94. http://dx.doi.org/10.3366/film.2006.0032.

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Orozbaev, Kasym N. "Primary Cinema Sources of American Noir." Journal of Flm Arts and Film Studies 8, no. 2 (June 15, 2016): 108–18. http://dx.doi.org/10.17816/vgik82108-118.

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The article analyses the two main sources of American film noir: the German cinema of the Weimar period (1919-1933) and American gangster film (1920-1930), pointing out the principal stylistic, thematic and conceptual techniques that influenced the forming of the noir style in the American movies of the 1940-1950s.

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Emanuel, Lynn. "Film Noir: At the Ritz." Antioch Review 52, no. 3 (1994): 496. http://dx.doi.org/10.2307/4613010.

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