Film Noir

Paul Schrader’s “Notes on Film Noir” discusses the general evolution of film noir’s popularity over time, beginning with it’s emergence in French cinema post-WWII up to its current resurgence in popularity. Schrader’s point on why this “renewed interest” is taking place relates back to the current trend in American films that examines the darker side of American character. This observation is very interesting in the way that Schrader makes the connection between what is happening in pop culture as a reflection of the contemporary political atmosphere. This tie between the collective American psyche and popular culture is very astute. Because, as Schrader notes, film noir is based more on “subtle qualities of mood and tone” rather than strict story lines, it is a tone that can be easily adapted to various genres of films. Later in the piece, Schrader addresses the post-war realism of film noir which makes me think back to the point about film noir’s resurgence in popularity. Currently, there is also a popularity amongst things that are considered “vintage”, which could also explain the renewed interest in the tone and mood of film noir.

Janey Place and Lowell Peterson’s “Some Visual Motifs of Film Noir” details the common visuals elements that are present in film noir. The most interesting part for me regards the parallel between the lighting style and the larger meaning that low-key lighting can have, not just for the overt action, but for its contribution to the overall tone of the film. Particularly, this adds to the theme of mystery by creating lots of shadows and darkness thanks to film noir’s use of low-key lighting. This demonstrates the bigger impact that lighting can have on film, even when the audience may not realize it at first. When I think of film noir, I think quite literally of darkness that adds to heightened feeling of suspense for the viewer. This article really added to the preexisting knowledge that I had about this film genre before this class.