Film Noir- David Katzman

After taking a class committed to analyzing Film Noir, as well as it being my favorite period of film history, I was excited to read Paul Schrader’s take on the subject.  My favorite part of the paper was how he differentiated tone and genre.  I am constantly struggling with answering the question, “is Film Noir a genre of film?”  After reading this paper, however, I am leaning towards the side of Film Noir being categorized as a cinematic tone.  I also loved his discussion of the German influences of Film Noir.  I took a class called German Expressionism and Film Noir; however, I have found that papers often do not discuss the two topics together.  Many of the dark and pessimistic styles found in Film Noir were seen in Germany with films such as the Cabinet of Dr. Caligari and Metropolis.  Without these films, Film Noir would seize to exist.  Not only did the ideas of Film Noir change however, but also the European directors using German Expressionism in Europe found themselves in Hollywood years later after avoiding the outburst of WWII.  It was interesting and exciting to see that Schrader incorporated both historical and analytical aspects of Film Noir into his essay.  I also greatly appreciated Schrader’s use of bullets to organize his thoughts.  When discussing a film period as vast and stylistic as Film Noir, it can be difficult to understand so many points and characteristics simultaneously, however, Schrader is able to simply order his thoughts in a way that thoroughly explains his points.    

Film Noir: Lighting and Style

The article about visual elements in Film Noir was interesting, especially because I have taken a class on Film Noir before. The thing we focused on most in the class was the lighting, and how it plays into the scene. I liked how this article went into the technical elements about how this was done, but the most interesting thing to me is the diffusion of light, especially on women. We learned a lot about how the diffused light on women made them look softer and helpless, even when they usually have evil intentions and are anything but pure. Another thing that I find interesting about Noir lighting is the fact that it is shot during the day, but supposed to look as if though it is done at night. This is something very unique to noir, for it highlights the sharp contrasts between light and dark in a very stylized way. These lighting elements help to add to the air of mystery and suspense that the genre is known for. The idea of unbalanced and busy scenes also adds to this suspense and mystery, which is really interesting. I like how certain elements, besides scripts and actors, can really define a genre.

Film Noir

If Film Noir was a person, I’d see them as someone who has their act together, they know what they’re about however they are low key. People don’t pay attention to them enough because they aren’t following the norm of happiness, as well they are being more realistic then dramatic. After reading Schraders Notes on Film Noir, I learned that film noir is not a genre but is defined by tone. I think it is interesting that this “tone” is called Film Noir for me for two reasons. The first is that Noir, like black, is a color and according to Schrader, a large majority of the recurring techniques of film noir has to do with lighting. The light it usually emphasized by darks and black. The mass of the scenes are lit for night, if the scene takes place inside, the lights are off. The actor’s faces are often in the shadow and their faces blacked out.  The setting usually gives off a dark, dismal feeling. The second reason is because the films have low spirits. They tend to associate violence, hard-boiled, evil, fear and bleakness. When someone says in French that they are in the noir, it means they are in a dark place in life.  Overall because of the time period of Noir Films as well as they way they are captured, the title Noir Films suits it perfectly.  

Film Noir

What I found the most interesting about film noir are the ways in which it is defined by critics. Unusually so, film noir is believed to be one particular style of film that is understood differently by each individual movie critic. It is likely that critics' definitions of the film noir style depend on each individuals' view of the world. Moreover, even while one person may believe a film to obtain a film noir style, it can potentially be rejected by a different critic. Evidently, current events taking place in history are major influences over one’s perceptions of what may, in fact, be film noir. Schrader uses the time period following World World II as an example of a current event that greatly influenced American film and the inclusion of film noir in cinema. Many of the movies produced in the mid-20th century incorporate the characteristically somber, deep moods of this film style. Schrader mentions one of the most famous examples of movies that incorporates the film noir style, Double Indemnity. Having seen this film, I, too, can agree that the film’s theme contains a sense of deliberate darkness. Applying this film style to a movie that I believed to have dark themes allows me to obtain a better understanding of film noir’s foundations and qualities of which Schrader discusses. As a young individual, I can relate to the positive feedback received from incorporating film noir into a great deal of today’s cinema. While the film noir qualities present in modern day film may be conveyed dissimilarly from movies produced about seventy years ago (like Double Indemnity), such genres of film are no less dark. 

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. 

Schrader's "Notes on Film Noir"

After reading Paul Schrader's "Notes on Film Noir," it can be concluded that film noir was able to create artistic solutions to visual conflicts seen in film. Because film noir is a style, its products are unique works of art. Additionally, film noir is different than other film genres because it holds more subtle qualities like mood as opposed to a film which features setting. Film Noir, aside from being its own genre, is also its own period on the detailed timeline of film history. From the 1940's to the 1950's, film noir dominated the industry. The second world war had effects on the film industry resulting in a strong use of film noir; almost every Hollywood film during that time was filmed using noir or similar elements. Some of the features of film noir include scenes of lit night, vertical lines as opposed to horizontal and equal lighting of actors.

Paul Schrader Film Noir

I found Paul Schrader’s article to be very interesting. I had always heard about Film Noir but never knew exactly how to classify it. I erroneously thought Film Noir was a genre category. It is interesting to see that it is actually a diverse range of films that are categorized by similar styles. The fact that these films may be in different genres was surprising to me. Another interesting idea in the article was about the history and interpretation of Film Noir. Film Noir’s dark themes were inspired by the American citizens unhappiness with politics and society after World War II. These films literally use extreme darkness and lighting to show their dark feelings about the period. Film Noir has a unique look and had a unique commentary about American discontent. I believe however, that the idea of films as social commentary about American discontent is present in other film eras. This occurs especially when the American public is discontented.  Some of today’s films often have some social commentary about our society as well. Film Noir’s reflection on the American public’s discontent, resonated with people in the 1940’s and continues to resonate well with today’s world.

Film Noir

Film Noir is actually one of my favorite periods of film as I find that each film from this period is beautifully made and full of interesting story lines. While reading through Schraders writing I was happy to see some familiar film titles of some films that I have previously seen. For example Gilda, Mildred Pierce, The Big Sleep, The Lady from Shanghai, and of course Double Indemnity. I was glad that I had this strong base of films that I had seen from this period so that I could associate what Schrader was discussing in this article with the different films. Something that I thought was interesting was the points that he made about how the war affected film noir. This is something that I had noticed in a few of the film noirs that I had seen, especially in films such as Gilda, and it was always something that interested me. Something that I thought was important to note was the three phases of film noir that Schrader points out. The first is the wartime period, then there is the post-war realistic period, and lastly the period of psychotic action and suicidal impulses. Looking at films from the general noir period in relation to these phases is important because it can better help the audience understand some of the reasons why the film was structured in a certain way. For example for the film Gilda is laced with German references. The first article also points out some of the reoccurring techniques that were used in film noir. Before going into these I thought that it was interesting to note how Schrader points out that that there has not yet been a study of the stylistics of film noir. I thought that this was interesting point because when I think about style and then I think about film noir, I feel that there is definitely a set style for the films that I have seen so I would be interested in looking more into style and this point. Some of the techniques that he mentions are how scenes are often lit for the night, light that enters room does so in a strange way (through lines and shapes), the damp streets that fill the films, and complex chronological order. I also believe that these techniques that are used are a part of what make the world inside noir films so menacing. All of these elements are what I personally think make film noir so great. Formal elements are then expanded on in the Place and Peterson article which discusses some of the formal elements of film noir. The first, and one of the most important, is that of film noir lighting. The article states that the main type of lighting that is used in film noir is low-key lighting. This is the type of lighting where light and dark aspects of the scene oppose each other and many shadows and much darkness is left. The second element that is discussed in this article is that of directorial style. The article states that film noir goes against traditional mise-en-scene by using off angle compositions, claustrophobic framing devices, etc. A really interesting concept that I got from reading both of these articles is that all of the formal elements and directorial choices work together in films from the noir period to create an unstable, unsafe environment within the film. Because most of the element choices, such as lighting, composition, angles, etc., go against traditional film they also add to the stories within the noir world to create films that go against to norm.

What is film noir?

Before reading Paul Schrader's "Notes on Film Noir," I never knew what the term actually referred to. It is much more than movies film in black and white as I previously believed. What interests me about film noir is it is not defined by tone, it is defined by genre, so it is impossible to define exactly what it is and decided whose definition is right. Essentially, they all are. However, it is built on four conditions allowing for creative flexibility. The conditions it was built upon include war and postwar disillusionment, postwar realism, German influenced lighting, and tradition. From my understanding, these conditions allowed for sardonic, less optimistic ways of thinking through film that gave voice to a previously discriminated group in film: everyday people. To do so, directors employed specific lighting techniques, oblique and vertical lines, compositional tension as opposed to physical action, romance narration, elements of water, and complex chronological order. Because film noir was fabricated under these conditions, it allowed filmmakers to explore different themes that were not previously covered in movies like fear for the future, loss, nostalgia, insecurity, and lack of clear priorities. What I learned that the topics and themes in movies correlate to the stylistic and events of the times. It is no wonder directors started to explore darker themes in cinema after World War II. This is evidence that movies are reflective of the social atmosphere of the time period. It's no wonder why the movies from today are so all over the place. In conclusion, after reading Schrader's article on film noir, it is clear to me that as I analyze these movies, I must take into account the social, political, and economic atmosphere of the times to fully understand the themes of the works. Basically, film noir isn't call such because it is in black and white.




Film noir came to be based on the time period but it is defined stylistically? Is this valid to say?

Film Noir

According to Schrader, “Hollywood’s film noir has recently become the subject of renewed interest among moviegoers and critics.” Currently, Film noir is a more familiar term and its use is widespread, but still there are ongoing debates concerning its status. There are some critics that view film noir as a genre; thus it will rely upon a system of well defined conventions and expectations like other genre defined movies. If film noir is referred to as a genre, there is a number of problems that arises. First, genres tend to cross periods instead of being bounded by them and the film noir is generally very closely connected with the 1940s Hollywood. This particular criticism of noir as a genre relies upon whether one regards the more recent films as a continuation of the noir tradition or not. A critique against regarding film noir as a genre is that it will not include all the films that have been seen as noirs. But this may also be a reflection of problems within the methodology of film criticism. Film noir has also been regarded as a series. In this case the noir is seen as a cycle, and viewed as an aesthetic movement. Here the cycle has been seen as lying within the boundaries of the crime film, but this creates a problem since these borders themselves are difficult to determine. These different views on film noir try to define and capture the essence of noir. Maybe it would be best to simply state that all of the above describe some aspects of what one can call the film noir phenomenon. Overall, a film phenomenon with both generic, stylistic and cyclic parts is the best way to define the term film noir.