History & Development

Film noir is origin from America and is emerged during the period of unstableness of political, from 1941 to 1958, which is the time of the World War II and the Cold War. It is associated with a black-and-white visual style that has roots in German Expressionist cinematography, an aesthetic movement during 1910s and 1920s that involved theater, photography, painting, sculpture, and architecture, as well as cinema. The term "Film Noir" is a French phrase literally meaning "black film" that to describes these movies.

Noir is the creation of the postmodern cultural-a belated reading of classic Hollywood that popularized by the cineastes of French New Wave, that suitable by reviewers, academics, and film-makers, and then re-cycled it on TV. In between the period from 1941 to 1948, there are about 20 percent of Film Noir made were adapted from hard-boiled detective novels written by American authors, for instance Dashiell Hammett, Raymond Chandler. James M.Cain, and others.

According to Lewis, film noir is rooted in the 30s hard-boiled pulp and pop fictions together with the precode gangster films. That is the film noir has the characteristic of both, the hard-boiled style and world-weary pessimism with shadow-laden visual style and the combination of capital accumulation and criminal scheme. Film noir is also a world of criminals, of darkness and violence with characters’ central motives are usually greed, lust and ambition, drench in fear. Having said that, noir classified as modern genre.

As the consequence of the war, women have changed their roles by having economic independence, in which they have moved into the traditionally male workplace. Thus, there is the existence of the power of  femme fatale unleashed over the alienated hero in Noir films. According to Kolker, the cinematic elements has been developed was the result of cultural need on that time. Film Noir generally easily identified by it dark, pessimistic and paranoiac mood. It always shows the characters in a dark side that reflect the bad cultural of the society, and violence.

Film Noir has been a productive genre for filmmakers for the whole last half of the twentieth century. The film techniques used in film noir is normally low-key lighting as tend to include dramatic shadows and stark contrast, camera angles which often high-angle shots or tilted, the setting is in somber mood with crime and corruption, disillusioned and jaded characters and other elements. Some examples of Film Noir are Rebecca (Alfred Hitchcock, 1940), The Maltese Falcon (John Huston, 1941), Laura (Otto Preminger, 1944), The Third Man (Carol Reed, 1949) and Sunset Boulevard (Billy Wilder, 1950).

Lastly, we will talk about the development of film noir. Neo-noir often seen in modern motion pictures that protruding show the specific elements of film noir. So it is also known as the new wave of film noir. Film noir mostly refers to those black and white and also included femme fatales, doomed heroes/anti heroes and also detectives. Additionally, neo-noir is the term given to describe the films that use modern film-making methods but incorporating film noir elements. 

As neo-noir gives tribute to film noir as its predecessor, it does maintain some important attributes of film noir such as low key lighting and the presence of shadows. Neo-noir most generally shot in color, they do borrow the plots or themes that are famous from the film noir. However, these film noir elements do not become a conflict of neo-noir for the addition of color and contrast. An example of neo-noir film is Sin City (Frank Miller, 2005). 

Characteristics Found In Films - The Third Man

The Third Man (Carlo Reed, 1949) 

The film is about Holly, a pulp Western writer goes to Vienna to visit his friend, Harry. However, Harry was killed in a car accident. He suspicious for the death of Harry then he start investigating to know the truth.

The film starting with a narration that spoke by a unknown person. In the beginning, he introduced the black market in Vienna which already telling audience the world of criminal. Those are the element that always appears in film noir. The film also using expressionist devices like chiaroscuro light. There is a lot of low key lighting and make the shadow appears very often. The shadows look more outstanding especially those chasing scenes in the film. The uses of low-key lighting in exterior settings can be used to distort the frame and also outsize the shadow. It also showing the feeling of jeopardy and emotional instability in the mind of the character which being hunted. 

This is the scene when Harry is chasing by the people that same party with the antagonist, Harry. The Third Man (1949).

In addition, the setting of the film is in city-bound, Vienna. The film also talked about the world after World War II, the city divided into four zones which occupied by the American, the British, the Russian and the French, it is the time that Film Noir appeared. Other than that, the scenes usually are shot in night, it also contain the locations like wet, dark, and cramped which can bring out the feeling of suffocating in the film world.

 This is the scene when police officer looking for Harry in the sewer. The dark and cramped location with silhouettes lighting used in The Third Man (1949).

Besides, mise-en-shot made by the filmmaker is interesting too. The filmmaker moved the camera and crooked the visual of the shot. There are a lot of oblique camera angles, unbalanced compositions found in this film, those film techniques was influenced by the German expressionist films. Those distorted image is to enhance the uneasy feeling of the characters. 

Anna is worrying when the Russian liaison officer detains her and checking her forged passport. The oblique line of the window and angle can shows her feeling. The Third Man (1949).

In this scene when Harry first time reaches Harry’s house can clearly showing that the elements of German expressionism, the oblique camera angle and the high contrast lighting that creating shadows. The Thrid Man (1949).

That is another mise-en-shot can see in the film which playing the role of narrative enhancement. For example the conversation part between Calloway, the police officer and Holly Martins, the protagonist. The conversation is about Calloway trying to know Holly Martins and his relationship with his good friend, Harry Lime. In the beginning of the conversation, it is a two shot showing the movement of the character, Calloway pouring the wine for Harry, it shows that the politeness relationship between two character, the camera angle and shot duration is normal.

 When Holly (on the left) having a conversation with Calloway (on the right). The Third Man (1949).

When Calloway trying to ask the deeper questions to Holly, it starting to use medium close up and oblique camera angle to show the insecure feeling. In the conversation, they also have an opposition point of view.

A more close up shot when they having an opposition point of view. The Third Man (1949).

When the conversation is getting serious and serious, that is when Calloway telling Holly that his friend is a worst racketeer. The visual becomes a close up shot, it is showing the tension feeling of the two characters in this confrontation conversation, and the pace of editing is faster than before.

A close up shot to show the character more nearer to the camera provides a pressure feeling and enhance the tension feeling in the conversation. The Third Man (1949).

However, this British Noir film has a little bit different with the American's, that is the film do not have the character like femme fatale. The antagonist was played by a man. Also, the theme of the film not that darker as the American film noir, for instance Double Indemnity. It even have the main song which is whimsical type of music play along with some scenes in the film and it somewhat added some humour feeling and element into the film.

Characteristics Found In Films - Double Indemnity

Double Indemnity (Billy Wilder, 1944)

Double Indemnity's  Poster (1944)

The Male Protagonist

The male protagonist is Walter Neff. He is a successful experienced insurance salesman. His characteristic is hard-boiled repartee uses as a mode of playful combat for example when he first time meet Phyllis at her house, he used verbal flirting which containing double meaning in the dialogue but Phyllis rejected him. He was an attentive person, from the plan that he had planned for Phyllis shows that he is a careful person. He had made moral decision, for example at last when he got shot by Phyllis and he killed Phyllis, but he decided to record the truth, how was the plan from the beginning until the end. At last, He was arrested by cops.

Walter decided to record the truth, how was the plan from the beginning until the end. Double Indemnity (1944), scene at 00.05.54.

The Femme Fatale

Femme Fatale from this film was Phyllis Dietrichson. She is manipulative, after the first time met Walter and indirectly rejected him, the second meeting she changes the date that Walter suppose to meet her husband, Mr Dietrichson to sign for the renewal of car insurance, but she dates Walter at the time when no one is at home. She seduces him and pretends that she is someone who is pity, innocent and loneliness. She tries to gain a good impression from Walter to accomplish her goals. She is treacherous and cruel. For instance, she conspires with Walter to murder her husband at the train in order to get the double indemnity from the insurance company. At the end of the film, she tries to kill Walter but fails. She got killed by Walter instead.

Femme Fatale in Double Indemnity (1944)

The "Investigator"

From the film Double Indemnity, Barton Keyes plays a tenaciously, resolute investigator character. He plays 'detective' roles in this film because he always trying to find out the truth behind the claims to avoid phony claims. He said his "Little Man" inside his body will tell him if there are some phony claims. Mrs. Dietrichson wants to claim double indemnity because of her husband's death but Keyes doubt that Mr. Dietrichson does not die in suicide, accident, but murdered. The murderer he suspected is Nino (Mr. Dietrichson's daughter's boyfriend). He trusts Walter so he chooses to continue investigate the cases until Walter confessed and record the truth for Keyes. This example proof the personality of Keyes in the film. 

Barton Keyes, the dogged, determined investigator. Double Indemnity (1944)

- - - - -

This film uses lots of German Expressionism techniques. The cinematography reinforces the darkness in the plot and theme. When Walter kills Mr. Dietrichson in the car, the setting is dark and camera has a close up on Mrs. Dietrichson's face expression. Filmmaker uses close up is to let the audiences understand that Mrs. Dietrichson not only is an accomplice in the criminal, she is also a cruel and ruthless person, and she does not love her husband. The filmmaker also uses dolly-in and dissolve from the past back to the storytelling by Walter. Other than that, filmmaker uses intense music to make the audience feel more invest into the film such as when Phyllis and Walter argue at the market. In this film, long and sharp shadows as well as inky blackness often appear in the screen. For example, almost the end of the film, Walter going to meets Phyllis in her house. When Walter opens the door, long and sharp shadow appears on the wall, it is using low-key lighting so the shadow will shown in the film clearly. 

Film noir uses lots of German Expressionism techniques. Double Indemnity(1944)

 

From left Femme Fatale, male protagonist and 'Detective' in Film Noir. Double Indemnity (1944)

Thus, from this film it plays the traditional roles in film noir, storyline focus on femme fatale and male protagonist. Femme fatale uses sexual attractiveness and ruthless cunning to manipulate the male protagonist in order to gain money and involve in criminal. In this film, femme fatale died at the end of the story. In film noir, mostly femme fatale will die. 

Characteristics Found In Films - Rebecca

Rebecca (Alfred Hitchcock, 1940)

This film is about Mrs. de WinterIva Archer a naïve young woman who marry to a rich widower 'Maxim' de Winter. Maxim thought he is the one who kill his wife. But it is not true. It was just an accident. 

This film begins with the flashback of “The Strange Days”. This is one of the film techniques of film noir. 

The narrative that start at the beginning of the film. Rebecca (1940)

The narrative that start at the beginning of the film. Rebecca (1940) 

Determine the natural investigate of the film

The film starts with a narrative. Talking about the dream she dreamt about and describing the road that she always take. The audience will question who is the person that gives this story, why she has such a dream? Why does she and another person could not go back to Manderley?

'Maxim' de Winter is the male protagonist in this film. He feels angry when Mrs. de WinterIva Archer shouts at him at the beginning of the film. He is happy and a little uncertain man. He born at Manderley but because of some reason, he could not go back to there again. His ex-wife, Rebecca drown in the pool when she was sailing near Manderley. He always avoids talking about his wife because he thought that he kills his wife (commit crime). But actually is his wife make the decision to let Mr. Maxim to kill her because she had cancer. He has make the decision to marry Mrs. De WinterIva Archer as his second wife.

Mrs. de WinterIva Archer

Mrs. de WinterIva Archer the “good woman” from the film. Rebecca (1940) 

Mrs. de WinterIva Archer, she is a very soft, shy, and naïve person. At first she thought that Mr. Maxim want to kill himself so she shouts at him to stop him from doing that. She falls in love with Mr. Maxim when she first saw him. She lies to Ms. Van Hopper that she went to play tennis but actually she go out to date with Mr. Maxim de Winter. She listens to Mrs. Danvers to wear the outfit that exactly same with the picture on the wall because she thinks Mr. Maxim will like it. 

Mrs. Danvers

The femma fetale from the film. Rebecca (1940)

Mrs. Danvers does not like the other femme fatale in film noir. This is because she does not flirt with the male protagonist in the film. 
Mrs. Danvers is the femme fatale in this film is because of some reasons. She does not really like Mrs. de WinterIva Archer because she despises Mrs Archer for taking her mistress's place. Next she asks Mrs. De WinterIva Archer to wear the same outfit just like the one in the painting/photo that on the wall. This make Mr. Maxim feels angry toward Mrs. Archer. She also wants to insult Mrs. Archer to jump down from the room. At last she burn Manderley because she doesn't want to see Mr. Maxim and his second wife live happily at there. 

Mrs. de WinterIva Archer wear the outfit that exactly same with the picture on the wall. Rebecca (1940) 

The picture on the wall (Ex-wife of Mr. Maxim). Rebecca (1940) 

Props used in the house - thing with the letter "R" on it.

This is to show those things are belong to Rebecca. Even she already dead but the things she used before are still keep in the same place in the mansion. This is to show Mr. Maxim and Mrs. Davers could not forget about her. This also let the audience to feel curious about the reason why Rebecca died. Who is the one who kill her? Or did she kill herself? Furthermore, the “R” always appears at the bright and another side of it always dark. This is to make the “R” letter more outstanding. 

Things that Rebecca used before she died. Rebecca (1940)

The Gothic Exterior of the building (English mansion that belong to Mr. Maxim)

English mansion that belong to Mr. Maxim at Manderley. Rebecca (1940)

The shadow keep repeating irregular at the wall of the mansion is to show the conflict and things that happen at the mansion. This type of technique also regular used in German Expressionism film. 

The Shadow

Mrs. de WinterIva Archer is sleeping and dreamt of what she heard from Mrs. Van Hopper. Rebecca (1940)

In this scene, Mrs. de WinterIva Archer is sleeping and dreamt of what she heard from Mrs. Van Hopper, which is about Mr. Maxim and his ex-wife Rebecca. Retrieved from the film that Mrs. Van Hopper's voice over saying: "She was the beautiful Rebecca Hildreth, you know. They say he simply adored her. She was the beautiful Rebecca Hildreth, you know. I suppose he just can't get over his wife's death. She was the beautiful Rebecca Hildreth, you know. But he's a broken man." This dialogue keep repeating "She was the beautiful Rebecca Hildreth, you know." in this scene it shows that Mrs. de WinterIva was trapped in this dialogue where saying Mr. Maxim's wife is beautiful.

The film techniques being applied is the titled shadow which believed is from the window of the room, just like the oblique vertical and horizontal lines that being utilized for German Expressionism. It has formed a jailed-shape shadow and reflected on Mrs. de WinterIva Archer. The jailed-shaped shadow could be defined as she is being trapped by the words from Mrs. Van Hopper, and being pressured as she has been fall in love with Mr. Maxim.

Other than that, the mise-en-scene in the film - Lighting is to show conflict and argument between characters, for instance, there is a lot of shadow reflex on the wall.

Conflict between Mrs. de WinterIva Archer and Mrs Van Hopper when Ms Hoppper know she going to marry to Mr. Maxim. Rebecca (1940)

Mr. Maxim arguing with Mrs. de WinterIva Archer. Rebecca (1940)

APA References

Belton, J. (1994). American Cinema/ American Culture. New York: McGraw-Hill, Inc. pp. 197-199.

Buckland, W. (2003). Teach Yourself Film Studies. London: Hodder Education. pp. 117-119.

Dickos, A. (2002). Street with No Name: A History of the Classic American Film Noir. United States: National Endowment for the Humanities. pp. 1-10

Hayward, S. (2006). Cinema Studies: The Key Concept (3rd Edition). Great Britain: Routledge. pp. 148-153.

Kolker,R. (2006). Film, Form & Culture (3^rd ed.).New York: McGraw-Hill. pp. 243-247.

Lewis, J. (2008). American Film: A History. New York: W. W. Norton & Company. pp. 201-207.

Libassu, M. (2007, Spring). Neo-Noir: The literary adaption tribute. Horizon Literary Magazine, 24, 14.

Films :

David O. Selznick (Producer), Alfred Hitchcock (Director). (1940) Rebecca [Motion Picture]. United State: 

Selznick International Pictures.

DeSylva, B., Sistrom, J. (Producer), & Wilder, B. (Director). (1944). Double Indemnity [Motion picture]. United States: Paramount Pictures.

Reed, C.  (Producer), & (Director). (1949). The Third Man [Motion Picture]. United Kingdom: London Films.