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GENRE = type or category that most films fit most comfortably in. These formulas were crystallized in the Classical Hollywood period and still define how.

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Presentation on theme: "GENRE = type or category that most films fit most comfortably in. These formulas were crystallized in the Classical Hollywood period and still define how."— Presentation transcript:

1 GENRE = type or category that most films fit most comfortably in. These formulas were crystallized in the Classical Hollywood period and still define how most movies are made and marketed today. = type or category that most films fit most comfortably in. These formulas were crystallized in the Classical Hollywood period and still define how most movies are made and marketed today.

2 Samples of Genres western Gangster/crime Science fiction musicals

3 Film Noir Characteristics dark or black film dark or black film a style, not a genre (scholastically, although this is debated) a style, not a genre (scholastically, although this is debated) Influenced visually and thematically by German Expressionism (sense of impending and utter fatalism) and French films of 1930s Influenced visually and thematically by German Expressionism (sense of impending and utter fatalism) and French films of 1930s Popular pulp novelists: Dashiell Hammett, Raymond Chandler Popular pulp novelists: Dashiell Hammett, Raymond Chandler Influenced by Orson Welless Citizen Kane (1941) Influenced by Orson Welless Citizen Kane (1941) Atmosphere and morality of film noir is obscure and ambiguous Atmosphere and morality of film noir is obscure and ambiguous

4 Film Noir

5 Film Noir Characteristics Contd: Greed, corruption, lust, violence, and horror Greed, corruption, lust, violence, and horror Plots often convoluted Plots often convoluted Hero is outlaw, misfit, or jaded gumshoe (private eye) – lone wolf Hero is outlaw, misfit, or jaded gumshoe (private eye) – lone wolf Femme fatale (do NOT trust this woman!) Femme fatale (do NOT trust this woman!) Corrupt politician, crooked cop, bad girl, insane killer Corrupt politician, crooked cop, bad girl, insane killer Settings are often urban (night, dirty streets, run- down buildings) Settings are often urban (night, dirty streets, run- down buildings)

6 Femme fatale (do NOT trust this woman!)

7 Visual Style - Tend to use dramatic shadows, stark contrast, low-key lighting, and black-and-white rather than color - Tend to use dramatic shadows, stark contrast, low-key lighting, and black-and-white rather than color - Typical film shot in a 10:1 ratio of dark to light (typical movie is 3:1 ratio) - Typical film shot in a 10:1 ratio of dark to light (typical movie is 3:1 ratio) - shot on location in cities, night time shooting was common to get that really dark look - shot on location in cities, night time shooting was common to get that really dark look - Shadows of Venetian blinds, dramatically cast upon an actor's face as he or she looks out a window, are a commonly used visual in film noir. - Shadows of Venetian blinds, dramatically cast upon an actor's face as he or she looks out a window, are a commonly used visual in film noir. - known for its use of low angle shots and wide angle lenses. - known for its use of low angle shots and wide angle lenses. - include shots of people in mirrors, shots through a glass, and multiple exposures. - include shots of people in mirrors, shots through a glass, and multiple exposures.

8 - shot on location in cities, night time shooting was common to get that really dark look

9 - Tend to use dramatic shadows, stark contrast, low-key lighting, and black-and-white rather than color

10 Shadows of Venetian blinds

11 Classical Film Noir The Maltese Falcon (1941) The Maltese Falcon (1941) The Maltese Falcon The Maltese Falcon Key Largo (1948) Key Largo (1948) Key Largo Key Largo The Asphalt Jungle (1950) The Asphalt Jungle (1950)The Asphalt JungleThe Asphalt Jungle Shadow of a Doubt (1943) Shadow of a Doubt (1943) Shadow of a Doubt Shadow of a Doubt Notorious (1946) Notorious (1946) Notorious Strangers on a Train (1951) Strangers on a Train (1951) Strangers on a Train Strangers on a Train The Wrong Man (1956) The Wrong Man (1956) The Wrong Man The Wrong Man Touch of Evil (1958) Touch of Evil (1958)

12 Classic Period (1940s and 1950s )

13 Neo-Noir

14 Neo-Noir Examples/Recommendations: Chinatown (Polanski, 1974) Chinatown (Polanski, 1974) Taxi Driver (Scorsese, 1976) Taxi Driver (Scorsese, 1976) Body Heat (Kasdan, 1981) Body Heat (Kasdan, 1981) Blade Runner (R. Scott, 1981) Blade Runner (R. Scott, 1981) The Grifters (Frears, 1990) The Grifters (Frears, 1990) Reservoir Dogs (Tarantino, 1992) Reservoir Dogs (Tarantino, 1992) The Last Seduction (Dahl, 1994) The Last Seduction (Dahl, 1994) Pulp Fiction (Tarantino, 1994) Pulp Fiction (Tarantino, 1994) Fargo (Coen, 1996) Fargo (Coen, 1996) L.A. Confidential (Hanson, 1997) L.A. Confidential (Hanson, 1997) Collateral (Mann, 2004) Collateral (Mann, 2004)

15 Other Neo-Noir Examples: Scarface (DePalma, 1983) Scarface (DePalma, 1983) The Untouchables (DePalma, 1987) The Untouchables (DePalma, 1987) Cape Fear (Scorsese, 1991) Cape Fear (Scorsese, 1991) Basic Instinct (Verhoeven, 1992) Basic Instinct (Verhoeven, 1992) Muholland Falls (Tamahori, 1996) Muholland Falls (Tamahori, 1996) Sin City (Rodriguez, 2005) Sin City (Rodriguez, 2005) Kiss Kiss Bang Bang (Black, 2005) Kiss Kiss Bang Bang (Black, 2005) Brick (Johnson, 2005) Brick (Johnson, 2005)

16 Chinatown (1974)

17 The most American film genre, because no society could have created a world so filled with doom, fate, fear and betrayal, unless it were essentially naive and optimistic. The most American film genre, because no society could have created a world so filled with doom, fate, fear and betrayal, unless it were essentially naive and optimistic. - Roger Ebert

18 Double Indemnity (1944)

19 Billy Wilder ( )

20 Barbara Stanwyck ( )

21 Fred MacMurray ( )

22 Edward G. Robinson ( )

23 Assignment While viewing Double Indemnity (1944), create a list of film noir characteristics and visual elements evident in the film. Be specific and create a minimum of 5 examples today. While viewing Double Indemnity (1944), create a list of film noir characteristics and visual elements evident in the film. Be specific and create a minimum of 5 examples today.

24 Film Journal 25 pts 25 pts Watch a film noir (classical or neo-noir) and discuss what characteristics of film noir are evident in the film. Watch a film noir (classical or neo-noir) and discuss what characteristics of film noir are evident in the film. ½ pg – 1 pg in length ½ pg – 1 pg in length


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