Portrayal Of Women In Film Noir

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Portrayal of women in Film Noir


A term coined by French film critics to describe a type of American film produced in the 1940s and '50s that was literally and figuratively "dark" (noir). Literally, the lighting of the noir film was dark; most of the action occurred at night, with an emphasis on the play of shadows and light. Figuratively, the noir film was dark in its representation of modern life as an urban wilderness, its hero a disillusioned drifter or (after World War II) an ex-GI whose war experiences had left him estranged from society and himself. In addition to this theme of alienation, some have seen noir films, which usually ended unhappily, as critiques of an American culture that celebrated success.


The characters of this genus are often unhealthy and disturbing figures. Couples diabolical, prostitutes, drunks, gamblers, brutal husbands, young and insane murderers thirst for conquest. Unlike the yellow, in noir is "working" for the triumph of evil that every person carries within him. These characters are opposed detective private, journalists, writers, often telling the story in first person, trying to eradicate these unhealthy perversions restandone, in turn, entangled. The classic yellow has well-defined characters in noir characters are dark, bent over their torments and carry stories like their troubled consciences.

The film noir is a cinematic subgenre of thriller, which had the summit in the United States in the forties and fifty. In addition to the theme of an ' investigation and the ambience typical city, the film noir provides strong contrasts of light between white and black, which symbolize the conflict between good and evil.

Double Indemnity

Double Indemnity (called Blood Pact in Latin America and Perdition in Spain) is a film American of black film, directed in 1944 by Billy Wilder and starring Fred MacMurray, Barbara Stanwyck and Edward G. Robinson.

A very simple definition of film noir, this is the correspondence between images and dark interior of the characters: "Double indemnity" is a perfect demonstration, the director of photography (John Seitz) using engineering to the scenes in the dark if not in the dark almost complete, using and abusing many projections on the walls of lath shutters, window bars, trapping even more characters in their design and funeral doom, sometimes even using particles aluminum to give the impression of dust.

"Double indemnity" is from a book by James McCain which had already been adapted to film "The Postman Always Rings Twice" with two recurring themes at the base of non-mafia film noir: the insertion of characters in Middle America and the portrait of an adulterous mutating into a femme fatale. In "Double Indemnity", the femme fatale is a monument of its kind: a predatory feline who moves into his house like a wild animal circling its prey.

In the opening sequence, during which shows the credits , the silhouette of a man, dressed in coat and hat, walking with crutches moves toward the camera, to cover the entire screen (as pointed out, this figure can be both a victim of the murder, ...
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