| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "FILM NOIR HITCHCOCK": |
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Film Noir and Hitchcock, 2002.
An analysis of film noir motifs in Hitchcock's films.
1,150 words (approx. 4.6 pages), 2 sources, $ 44.95
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Abstract
This paper will examine how, in this work, Hitchcock employs many of the stylistic elements of the genre that would later become known as film noir to reveal the darkness that is at the heart of the "American dream."
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Women in Film Noir, 2004.
An in-depth look at the role of women in the genre of film known as film noir.
7,839 words (approx. 31.4 pages), 21 sources, MLA, $ 170.95
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Abstract
Among the various styles of producing films, the noir style is one that has come to be recognized for its uniqueness in characterization, camera work and striking dialogue. Film Noir of the 1940s and 50s was well known for feminine characters that were the protagonists, the femme fatale. This was most common with the French and later accepted in the United States. This paper begins by introducing film noir, its definition, how it started and also the history of this genre in the United States of America. It looks at films such as the "Maltese Falcon" (1941) and "A Touch of Evil" (1958). In the second section, the paper explores how women are represented in film noir (heroine and femme fatal) by discussing the aforementioned films and analyzing them. The paper examines different authors, such as Ann Mary Doane whose research is based on feminism and psychoanalysis and Ewing Dale ("Style and Content in Film Noir"), to discuss their ideas. The paper also compares two film noirs - the "Maltese Falcon" (1941) and "Basic Instinct" (a contemporary noir), to see how women express themselves, looking to see whether they express themselves through their sexual diversity. In the third and last section, the paper examines how women are represented in contemporary noir by analyzing and discussing one contemporary noir - "Mulholland Drive" (2001). The paper analyzes sequences to demonstrate the movie's connection with film noir and examines the role of women in the film. The paper includes illustrations from movies.
From the Paper
"Mulholland Drive reinforces the dominance of the femme fatale in contemporary film noir. In present times the role of the woman in society is observed to have a variation, and this is because of the fact that there is a change in the way that she can express herself. It also highlights the way that she can dominate men without them even knowing it. It is perhaps only when they reach their ultimate doom that they realize that women have exploited them. This kind of character portrayal is one that has increased over the years since the beginning of the film noirs. From then it has developed itself in American filmmaking, which has reflected the strengths and weaknesses both in American society."
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Film Noir: 1941-1953, 2004.
An analysis of the film noir movement.
6,035 words (approx. 24.1 pages), 6 sources, MLA, $ 143.95
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Abstract
This paper examines the history of the noir movement, focusing on key films such as "The Maltese Falcon" and "Double Indemnity" and filmmakers of the time period of 1941-1953. The paper discusses what elements of a film classify it as having film noir characteristics. The paper also explores how the film noir movement evolved into an important genre for the time period. The paper takes a look at today's movies that have film noir elements and what has inspired these elements to reappear in such works as "L.A. Confidential", "Chinatown", "Payback" and "Bound".
Outline
Introduction
Definitions and Characteristics of Genre and Film Noir
Characteristics of Film Noir: Story, Characters and Setting
Historical Context
Neo Noir
Conclusion
From the Paper
"Genre is essentially a narrative framework and can be analyzed by breaking down this construct in terms of its fundamental structural components of: plot, character, setting, thematics and style. Each genre film has a buy-in with the audience, as the film must play by the rules of what the participants expect. As a result because society is constantly evolving so is the genre formula so its elements are identifiable and the audience feels a commitment to the film. Borde and Chaumeton explain, "categories are formed discursively, through a process of metaphoric association that creates networks of relationships" (xiv). It is because genre uses iconography or the "process of narrative and visual coding that results from the repetition of a popular film story" (Schatz 22) that genre becomes common within the human experience. In this way subconsciously the audience picks up on cues to communicate which genre such as Western, Slapstick or Gangster is being presented."
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Film Noir and Neo-Noir, 2003.
Compares the two cinematic styles.
1,350 words (approx. 5.4 pages), 4 sources, $ 47.95
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Abstract
Discusses the treatment of generic conventions and themes. Uses two crime films as examples: the 1950 classic, "Night and the City", and the 1986 Neo-Noir, "Manhunter." Shows how both films reflect the culture and values of their time.
From the Paper
"Film Noir is a cinematic style that dominated post World War II Hollywood films. "Throughout the 1940s, a stylistic and thematic trend was developing in Hollywood which by the end of the decade determined the look and the feel of the industry's most ..."
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Casablanca as Film Noir, 2006.
A review of Casablanca in relation to the category of film noir.
1,125 words (approx. 4.5 pages), 4 sources, $ 44.95
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Abstract
This paper reviews the film Casablanca and relates it to film noir. The paper discusses how Casablanca possesses elements of the film noir genre, and analyzes these elements to determine if this is sufficient to render Casablanca as a film noir.
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Gender and "Film Noir", 2002.
A discussion of the relationships between women and men in several works of "film noir".
4,150 words (approx. 16.6 pages), 7 sources, $ 151.95
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Abstract
This paper is a research analysis of the relations of gender, sexuality, and morality in the cinema genre of "film noir." The essay relies on several film examples for assessing the relationship between the genre and the composition of gender that is inextricable from this film genre. A brief history of "film noir" is provided, as well as detailed evaluations of the representations of gender and sexuality.
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Film Noir and Horror, 2002.
The differences between film noir and horror films.
2,400 words (approx. 9.6 pages), 12 sources, $ 89.95
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Abstract
This paper differentiates between the horror and film noir genres with a focus on Hitchcock's "Psycho" and Welles' "Lady from Shanghai".
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Film Noir, 2002.
A discussion of the development of the 'film noir' in the movie industry.
1,485 words (approx. 5.9 pages), 2 sources, MLA, $ 49.95
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Abstract
This paper examines the genre of 'film noir', the name given to the trend of the dark and black, looks and themes of many of the American crime and detective films released following the World War II. It discusses the influences on these films such as World War II and postwar disillusionment, postwar realism, the work of German expatriates making use of German Expressionism and even the hard-boiled literary tradition of the 1930s and 1940s. It shows as an example how Orson Welles used the style in his late-1950s film "Touch of Evil", a film that develops a film noir style and structure in the context of tense international relations and an era of police abuse. It discusses how Orson Welles shapes what could have been a standard crime story in a new way by the creative use of the camera and by strong characterizations.
From the Paper
"For the film noir aspect of the film, the underlying attitudes of the character are as important as lighting and camera work. Sheriff Quinlan is a huge mass of bloated flesh and exudes evil from his first appearance in the film, standing as a cop who will do anything not to be wrong. He is contrasted sharply with the tall and stalwart look of Ramon Vargas, the policeman from South of the border who must not be allowed to show up the great Quinlan. Quinlan has the look of a man who was once great and who has fallen, though he sustains his position through force of will, reputation, bullying, and the sycophancy of Sgt. Menzies, who follows Quinlan around singing his praises to all who will listen."
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Film Noir and "Double Indemnity", 2004.
An examination of the manner in which the movie, "Double Indemnity", made in 1944, is a classic film noir.
1,507 words (approx. 6.0 pages), 5 sources, MLA, $ 49.95
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Abstract
This paper explains the movie genre of film noir that was popular in the post-WWII Hollywood. The paper defines this genre as a dark, suspenseful thriller with a plot line revolving around crime or mystery. It focuses on the 1944 movie, "Double Indemnity", and explains how this is a perfect example of film noir.
From the Paper
"Certain German filmmakers are usually credited with pioneering a form of horror film with links to film noir, a prime example being Nosferatu (1922) in which oblique lighting and compositional tension rather than physical action was used to create a nightmare world of violence. Some years later, these same cinematic and literary techniques were inserted into the Hollywood gangster tradition by certain German directors and cinematographers who fled to the United States in order to avoid persecution and confinement by the Third Reich, circa 1938-1943."
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Film Noir, 2005.
A discussion on the genre of film noir.
675 words (approx. 2.7 pages), 3 sources, MLA, $ 23.95
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Abstract
This paper discusses reasons why the Joan Crawford's picture, "Possessed" is not really a film noir. It contends that it is rather a star vehicle for a female audience, as opposed to the male-dominated hard-boiled detectives and underworld figures who populated films noir of the '40s and '50s.
From the Paper
"Film noir, literally black film was a term for crime melodramas usually low to medium budget and usually begun in the black-and-white eras before fancy color and special effects happened. Most of the subjects dealt with either crime, both punishment and retribution. In a sense one could say that this film genre became popular at the end of World War II when universal disillusionment set in and when the idea often was for someone to get away with it as long as it wasn't ..."
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The Femme Fatale of the Film Noir, 2005.
Examines the role of the 'femme fatale' in the genre known in film noir.
1,350 words (approx. 5.4 pages), 56 sources, $ 53.95
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Abstract
This essay examines the depiction of the "femme fatale" in some characteristic works of the "film noir" genre. It is argued that while these female characters may seem today to be sexist on the surface - with female leads tending to be figures of temptation who attempt to corrupt or destroy men through their sexuality - on another level, the "femme fatale" of the film noir can be seen as a figure of strength and power reflecting the growing participation of women in the work force in American society during the war years of the early 1940s.
From the Paper
"The genre of "film noir" is one of the most identifiable in film history. While there is general agreement on the core films that comprise the genre - in particular, "hard-boiled" American detective films of the 1940s - there is no consensus on the limits of the genre. At best, the genre seems defined by several stylistic characteristics common to many of the works associated with the genre. Perhaps the most often-noted of these defining features of "film noir" is the role played by the female leading actress; a role that may best be described as a "femme fatale"."
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Film Noir and 'The Big Sleep', 2005.
This paper analyzes the aesthetics of 'film noir' in the movie "The Big Sleep" by Howard Hawks.
1,125 words (approx. 4.5 pages), 4 sources, $ 44.95
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Abstract
In this paper, the writer examines the nature of plot, narrative, editing, and characterization in the film: 'The Big Sleep' (1946) by Howard Hawks. The writer discusses that by creating a plot that verges on the brink of chaos, Hawks directs Bogart and Bacall in their traditional film noir roles, which ultimately rely upon their acting and characterization as catalysts for the mystery and intrigue through murder. The writer further points out that by understanding the narrative of these two characters, the plot seems to take a secondary apparatus to the romance involved between these two actors.
From the Paper
"This film study will present the aesthetics that pertain the film noir genre when deciphering the complex plot of The Big Sleep (1946) by director Howard Hawks. By understanding the aspects of editing (flashbacks), acting and the plot structure of the film in relation to Hawks' visuals, this film offers a classic representation of the 'noir' genre. Also, this study will present the various aspects of dialogue, which provide the slapstick narratives and dry characterizations that define 'The Big Sleep' as a classic in depicting the criminal world of detective Philip Marlowe."
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Film Noir and the Hollywood Ten, 2002.
An overview of how the Hollywood Ten and the McCarthy Hearings helped create Film Noir.
2,130 words (approx. 8.5 pages), 7 sources, MLA, $ 66.95
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Abstract
This paper helps to explain how Film Noir - stories which symbolize our nightmares and fears - was created by the fears during McCarthyism and the House Committee on Un-American Activities. It also tells of the "Hollywood Ten" who refused to answer questions from the HUAC and how "black-listing" of actors, directors and producers hurt the production industry.
From the Paper
"Hollywood is no stranger to scandals and betrayals. Pick up any tabloid or watch the late-night news and you?ll see great announcements about who has done what and what that might mean for his/her career. But nothing was as controversial or damaging as the conviction of the Hollywood Ten during the ?McCarthyism? era, which helped to propel movie-making into a new genre that would reflect the history and emotions of those who participated in one way or another."
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Film Noir, 2007.
A look at the origins of the genres and the technical and literary elements that are essential to each noir film.
1,106 words (approx. 4.4 pages), 3 sources, MLA, $ 38.95
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Abstract
Film Noir is a term that is used to describe films that contain specific elements and techniques, both technical and literary. This paper looks at the origins of film noir and how and why it was created. It discusses the very specific lighting and technical camera work that is needed in every film, as well as what types of characters and plot-lines are essential.
From the Paper
"From a storytelling perspective, film noir is also the home of many unique elements in that regard as well. Devices like the flashback and narration device are used in almost every noir film. The flashback device is used to give the viewer a greater sense of understanding on events that occurred before the movie started, as well as visualize how a crime was really committed. The narrations usually are by the main character, the protagonist, who is almost always the one who is trying to solve the present mystery. In the narrations, the character may explain the mystery in the beginning, voice his or her opinions or theory on how the crime was committed or who did it, and in the end, after he or she has solved the mystery, explain who did it, as well as how he or she figured it out."
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Film Noir, 2005.
Compares the 1945 film "Mildred Pierce" with the 1954 film "On the Waterfront".
1,836 words (approx. 7.3 pages), 2 sources, MLA, $ 58.95
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Abstract
This paper describes the similarities and differences between these two classic films and explains why "Mildred Pierce", through the use of the femme fatale, a theme of betrayal and hopelessness and the use of flashbacks is the epitome of film noir while "On the Waterfront" actually breaks away from that genre, even though it shares some of the standard film noir qualities.
From the Paper
"Both movies possess the theme of family dynamics. In "Mildred Pierce" there is the element of a mother-daughter relationship as well as a forbidden affair between Mildred's second husband and her spoiled daughter from her first marriage, Veda. Sexual tension and melodrama runs throughout the movie: between Mildred and her first husband Bert; between Bert and Maggie Biederhof; between Mildred and second husband, Monte Beragon; between Mildred and her business partner and long-time friend, Wally Fay; and between Veda and Monte. In 'On the Waterfront," the family dynamics is between the two brothers, Terry and Charley Malloy, however, the family dynamics also extends to the loyalty between the dock workers. As far as sexual relationships, there is only one and that is between Terry and Edie, the sister of a slain dock worker."
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