Urban landscapes, and more importantly the protagonists’ relationship with them, constitute the defining trait of a number of Noir films. They perform as characters themselves, complex and amoral, consuming the protagonists and leaving them to feverishly navigate their manufactured, often monotone innards in a haze. In the end, many Noir anti-heroes come to know themselves only in reference to these sprawling, haphazard structures. As with human characters, urban landscapes in Noir films come in different shades of gray and evolve throughout their stories, in turn coming to be defined by the character of their denizens. The interplay between the meandering evolutions of human and structural characters is key to producing the feelings of alienation …show more content…
Growing presence of urban landscapes in the film is accompanied by a growing sense of Bart’s feelings of alienation from society and himself. The opposite is true for Annie, the second protagonist, who finds self-actualization in these urban structures. These alternate notions of the city reflect the pair’s differences in understanding the urban world and their places within it. Bart is a pacifist and finds peace in the country, even if it does not help him fully actualize himself. Because he finds that Annie’s energy and self-assured nature complements his own traits, he ventures into her urban world. They travel through cities together, and after running out of money, pull heists in urban settings, retreating into the country to hide after jobs. The urban landscapes come to reflect the couples’ corrupt and self interested side, which Annie finds freedom in, but decides to ultimately give up to be with Burt. Their attempt to move away from their current dishonest lifestyle is reflected in their desire to get a ranch in the countryside of Mexico, reflecting both a physical and psychological move from the urban setting. However, the crux of this escape is one last heist, which leads the couple to their demise; ultimately, they attempt to escape into the countryside once again, this time with the law behind them, only to find that they have become too alienated from this terrain to survive it. The countryside and peaceful life ultimately reject them as they die in the
Film Noir, as Paul Schrader integrates in his essay ‘Notes on Film Noir,’ reflects a marked phase in the history of films denoting a peculiar style observed during that period. More specifically, Film Noir is defined by intricate qualities like tone and mood, rather than generic compositions, settings and presentation. Just as ‘genre’ categorizes films on the basis of common occurrences of iconographic elements in a certain way, ‘style’ acts as the paradox that exemplifies the generality and singularity at the same time, in Film Noir, through the notion of morality. In other words, Film Noir is a genre that exquisitely entwines theme and style, and henceforth sheds light on individual difference in perception of a common phenomenon. Pertaining
Like most things captured on film for the purpose of being marketed, the richness of gangster life, with sex, money, and power in surplus, is glorified, and thus embraced by the audience. And as a rule, if something works Hollywood repeats it, ala a genre. What Scarface and Little Caesar did was ultimately create a genre assigning powerful qualities to criminals. Such sensationalism started with the newspapers who maybe added a little more color here and there to sell a few more copies, which is portrayed in Scarface’s two newspaper office scenes. Leo Braudy denounces genres as offending “our most common definition of artistic excellence” by simply following a predetermined equation of repetition of character and plot. However, Thomas Schatz argues that many variations of plot can exist within the “arena” that the rules of the genre provide.
The Outsider characters Edward and Raphael from the movie ‘Edward Scissorhands’ and the novel ‘Trash’ change their bland and featureless environments by providing creativity and ambition to the locals. Edward is an Outsider by his appearance while Raphael is an Outsider by poverty. Their communities express kindness to them both. Both individual characters do not act in the way the inhabitants of the society or slum. This is positive for the community and the creativity of the Outsiders change their
Thus placing the film fully emersed in the old, mysterious, dreamlike settings of the city, they are equally balanced with modern technology and the collective past gives viewers a sense of definite decay, with no sure centre for future (Spotto 277). Through Hitchcock’s films Americans could reminiscence and ruminate about their past-a kind of nostalgia and longingness is created. When Scottie meets Gavin Elster (Tom Helmore) in the shipbuilders’ office at the Embarcadero, what he says is striking: “The things that spell San Francisco to me are disappearing fast,” Elster complains quietly and referring to the old maps and woodcuts in his office he continues, “I should have liked to have lived here then-colour, excitement, power, freedom” (qtd in Spoto 280-281/qtd from the film). Here his speech echoes urbanisation that has gripped America and he also expresses a typical American sentiment of longingness for the past well expressed. And the sadness of the old things “disappearing past” is deliberately introduced to effect in Scottie and in us who are urged to identify with him, a nostalgia for bygone era (Spoto 281). Hitchcock has taken the film keeping in mind the viewers of postwar America who were nostalgic. Artist should be able to read the mind of the people. Taine has already pointed out the importance of ‘the man, milieu and
Throughout our lives, it seems when we have no one else to help us, our most challenging problems occur leaving ourselves to use our wit and emotion to persevere. People can have test or a big game where we have teachers and coaches to help us prepare and succeed. However, in the movie, High Noon, a Marshall named Will Kane is faced with a challenge of an arriving Frank Miller looking to kill. In the short story, "The Most Dangerous Game", a hunger named Rainsford is deserted on a island after he fell off his yacht, and he would soon find out a sociopath with the unique taste for hunting down humans was out for him. With the two characters in these suspense-building products somewhat trapped we can take out many lessons and ideas from the action packed movie and short story. The movie, High Noon, and the short story, "The Most Dangerous Game, are alike and at the same time very different.
... artistic vision and the disorganization relating to the Hollywood mob. Ultimately, Tod can no longer recuperate from the brutal crowd and the cacophonous sound of the siren. Instead, he loses his artist status by conforming to the status quo, more specifically, becoming like all the people he wants to paint.
Herbert Hoover, the 31st president of the United States, once accurately summed up the notion of war by stating: “Older men declare war. But it is the youth that must fight and die.” In these words he conveyed what many Americans, particularly soldiers, feel during wartime. The novel Johnny Got His Gun, by Dalton Trumbo, shares the life and experiences of a gravely wounded WW1 soldier that is only able to think. In this stream of conscience narrative, Joe Bonham is in a constant battle with his mind as he discovers the extent of his injuries sustained from war, his inability to communicate with the outside world, and his struggles as he copes with loss. In the film Shenandoah, directed by Andrew V. McLaglen, Charlie Anderson experiences non
This documentary portrays the life of wheelchair-bound individuals that are professional rugby players. A few of the players take the spotlight in this independent film such as; Mark Zupan, Joe Soares, and Keith Cavill. These particular individuals were chosen as the icons of this movie because of their phenomenal spirit and determination. The most heartfelt and inspirational story was of Mark Zupan who plays for the United States Quad Rugby team. He was the victim of a tragic car accident provoked by his best friend who was driving while intoxicated. This misfortune left him paralyzed from the waist down while his friend was unharmed. Zupan is an amazing individual that was able to forgive his friend and still involve him in his life. He
Janey Place and Lowell Peterson article “Some Visual Motifs of Film Noir” establishes noir as a visual style and not a ...
Adapted from the novella written by James M. Cain, Double Indemnity is a melodramatic film noir that highlights the conflict its characters face through adultery and murder which develops from the dissatisfaction and alienation that arose in the era of modernity as shown in most noir films. Unlike most noir films, Double Indemnity set the bar in terms of structural themes to follow and elements that eventually came to be considered essential in the noir genre. The film was seen to be a full embodiment of what the genre should be. Double Indemnity is an archetypal noir film, which portrays noir elements through its style, the characters, its writers’ backstory and the history of Los Angeles, the city in which it is set. This essay will examine how Los Angeles is integrated not only into the location but also into the storyline of the characters and their motivations but also the filmmakers’ lives. It does this through characteristic noir motifs like “the urban cultural landscape, the lack of rootedness of the characters, and the self-deceptions that center their world” (p. 437) affect the protagonists in the film. Double Indemnity’s use of Los Angeles as its primary location exposes the innate decadence and decay of the city through film noir stylistic elements. Billy Wilder directed Double Indemnity and the film became the archetypal noir film because it embodied all the characteristics of a typical noir film, which include “claustrophobia, paranoia, despair and nihilism” (Place and Peterson, p. 327) course kit source. Los Angeles, the city used primarily as the location in the film becomes not merely a backdrop but a character in the film through its physical and implied characteristics. The context through the stories of Wild...
The noir style is showcased in Sunset Boulevard with its use of visually dark and uncomfortable settings and camera work, as well as its use of the traditional film noir characters. In addition, the overall tone and themes expressed in it tightly correspond to what many film noirs addressed. What made this film unique was its harsh criticism of the film industry itself, which some of Wilder’s peers saw as biting the hand that fed him. There is frequent commentary on the superficial state of Hollywood and its indifference to suffering, which is still a topic avoided by many in the film business today. However, Sunset Blvd. set a precedent for future film noirs, and is an inspiration for those who do not quite believe what they are being shown by Hollywood.
“Shooter” is an action movie that was produced in 2007. It starts off by visually describing the military career of the protagonist, Bob Lee Swagger. His spotter and best friend gets killed by enemy fire, but Swagger survives. After this scene, the movie describes the life that he now lives in the United States. He decides to live in the woods with his dog after he retired from the military. Everything goes as Swagger wants it to until a supposed branch of the government shows up at his door and needs his expertise to aid them in preventing the assassination of the United States president (Rotten Tomatoes). From this point the movie takes a turn that Swagger cannot come back from.
The director Antoine Fuqua vision for this film was to bring that intense love-hate relationship onto the big screen and showcase it for the world to see. To ensure a convincing film setting, Fuqua shot on location in some of the most hardcore neighborhoods in Los Angeles. Fuqua also wanted to show the daily struggles of officers tasked to work in the rougher neighborhoods of cities and how easy it can be to get caught up in a street life filled with killers and drug dealers. Overall the film displayed the city of Los Angeles in a different perspective. One which m...
While there are many different ways to classify a Neo-noir film, Roman Polanski’s, Chinatown captures many. The 1974 movie consists of many of these elements, including both thematic and stylistic devices. One of the main themes of neo-noir film that is constant throughout the film is the deceptive plot that questions the viewers’ ideas and perceptions of what is actually happening in the film. Every scene of Chinatown leads to a twist or another turn that challenges the practicability of the film’s reality. All of the never-ending surprises and revelations lead up to the significant themes the movie is trying to convey in the conclusion of the film.
Full Metal Jacket is written and directed by Stanley Kubrick. The film was released in 1987 and it is starring Matthew Modine (Joker), Vincent D’Onofrio (Pyle), Adam Baldwin (Animal), and R. Lee Ermey ( Guy.Segr. Hartman).