A number of his essays and interviews have been collected Film noir is not a genre, as Raymond Durgnat has helpfully pointed out over the. LibrarypointSome argue that it is a genre, while others contend that film noir is more of a in all.
InFrench critics, seeing the American films they had missed during the war, noticed the new mood of cynicism, pessimism and darkness which had crept into the American cinema. The darkening stain was most evident in routine crime thrillers, but was also apparent in prestigious melodramas. The French cineastes soon realized they had seen only the tip of the iceberg: As the years went by, Hollywood lighting grew darker, characters more corrupt, themes more fatalistic and the tone more hopeless.
ByAmerican movies were in the throes of their deepest and most creative funk. Never before had films dared to take such a harsh, uncomplimentary look at American life, and they would not dare to do so again for twenty years. As the current political mood hardens, filmgoers and filmmakers will find the film noir of the late forties increasingly attractive.
The forties may be to the seventies what the thirties were to the sixties. Film noir is equally interesting to critics.
After all, what is film noir? It is not defined, as are the western and gangster genres, by conventions of setting and conflict, but rather by the more subtle qualities of tone and mood. Film noir is also a specific period of film history, like German Expressionism or the French New Wave.
In general, film noir refers to those Hollywood films of the forties and early fifties which portrayed the world of dark, slick city streets, crime and corruption.
Film noir is an extremely unwieldy period. It harks back to many previous periods: Personal and descriptive definitions, however, can get a bit sticky. A film of urban night life is not necessarily a film noir, and a film noir need not necessarily concern crime and corruption.
How many noir elements does it take to make a film noir noir? Rather than haggle definitions, I would rather attempt to reduce film noir to its primary colors all shades of black those cultural and stylistic elements to which any definition must return.
At the risk of sounding like Arthur Knight, I would suggest that there were four conditions in Hollywood in the forties which brought about film noir.
Each of the following four catalytic elements, however, can define the film noir, the distinctly noir tonality draws from each of these elements. War and postwar disillusionment: The acute downer which hit the U. The crime films of this period were Horatio Algerish and socially conscious.
The need to produce Allied propaganda abroad and promote patriotism at home blunted the fledgling moves toward a dark cinema and the film noir thrashed about in the studio system, not quite able to come into full prominence.
During the War the first uniquely film noir appeared: As soon as the War was over, however, American films became markedly more sardonic—and there was a boom in the crime film. The war continues, but now the antagonism turns with a new viciousness toward the American society itself.
Shortly after the War, every film-producing country had a resurgence of realism. The postwar realistic trend succeeded in beraking film noir away from the domain of the high-class melodrama, placing it where it more properly belonged, in the streets with everyday people.
In retrospect, the pre de-Rochemont film noir looks definitely tamer than the postwar realistic films.
Hollywood played host to an influx of German expatriates in the twenties and thirties and these filmmakers and technicians had, for the most part, integrated themselves into the American film establishment."Notes on Film Noir" by Paul Schrader found in American Movie Critics: An Anthology from the Silents Until Now edited by Phillip Lopate Schrader's important essay looks at film noir as a style within a historical moment rather than a genre.
In his essay “Notes on Film Noir”, film critic-turned-screenwriter/director Paul Schrader wrote on how the genre was “not defined by conventions of setting and conflict, but rather by. His essay Notes on Film Noir from the same year has become a much-cited source in literature on film.
Hollywood's Best Film Directors (episode: "Paul Schrader" – aired September 1, ) Lindsay (episode: "Part One" – aired March 9, ). PhoneRadar DynamicHome › Forum › Under Costruction › Paul Schrader Notes On Film Noir Essay – Questo argomento contiene 0 risposte, ha 1 partecipante, ed è stato aggiornato da apferwasama 11 mesi, 2 settimane fa.
Stai vedendo 1 articolo (di 1 totali) Autore Articoli 26 settembre alle # apferwasamaPartecipante CLICK HERE CLICK.
Note on Film Noir. By Paul Schrader In French critics, seeing the American films they had missed during the war, noticed the new mood of cynicism, pessimism and darkness which had crept into the American cinema.5/5(1).
Paul Schrader, Notes on Film Noir (), Film Noir Reader, p The author begins by acknowledging the difficulties in defining film noir. Contrasting it with other established genres like horror or western, Schrader reckons that the differentiating quality of film noir .