What is Film Noir – Private Detectives, Corrupt Cops, and Femme Fatales

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What is Film Noir? – We look at film noir's history, characteristics, and long-lasting legacy.

What is Film Noir ►►
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Chapters:
00:00 - Introduction to Film Noir
01:18 - Elements of Film Noir
01:58 - Aesthetics of Film Noir
03:01 - Narratives & Endings
05:14 - Style vs Genre
08:02 - History
08:43 - German Expressionism
09:20 - Post-War Cynicism
11:54 - Legacy of Film Noir
13:12 - Takeaways

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WHAT IS A FILM NOIR?

Defining film noir is a bit tricky because it's considered by many to be both a style and a genre. Professor James Naremore summed up the issue nicely in saying "It has always been easier to recognize a film noir than to define the term." But despite contention to its classification, most critics agree that film noir can be identified by its pessimistic tone, morally grey themes, and high-contrast visuals that mix light and shadow. In our video essay on film noir, we break down the binding similarities in further detail.

HISTORY OF FILM NOIR

Film noir translates from French as "dark film." The term was used by critic Nino Frank in 1946 to describe four Hollywood crime dramas: The Maltese Falcon, Laura, Murder, My Sweet, and Double Indemnity. Frank’s writing gave classification to film noir – but the term wasn’t widely used until decades after its original invocation. Nowadays, film noir is characterized by archetypal characters, high-contrast aesthetics, and complex stories with unhappy endings.

DEFINING FILM NOIR TROPES

Film noirs contain many tropes: including types of characters, like the private detective, the corrupt cop, and the femme fatale; stylistic elements, like stark black and white cinematography and chiaroscuro lighting; and narrative conventions, like unhappy endings, where the antagonist gets caught but the protagonist doesn't get what they want.

FILM NOIR GENRE VS. STYLE DEBATE

There is considerable debate as to whether or not film noir is a "genre" or "style." Pro-genre critics point to the repetition of plots, settings, characters, and aesthetics as proof that film noir constitutes its own genre. Pro-style critics argue that those elements can, and do, exist separately; in different combinations; and/or in distinct genres altogether. Film noir has also been immortalized by the neo noir movement, which renovated many of its progenitor's tropes through genre mashups and graphic visuals.


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♬ SONGS USED:

“Mysteries of Love” - Angelo Badalamenti
“The Big Sleep” - Charles Gerhardt
“Suite From Seven” - Howard Shore
“On Demon Wings” - Bohren & der Club of Gore
"Painless Steel” - Bohren & der Club of Gore
“Sin City” - Robert Rodriguez
“The Host of Seraphim” - Dead Can Dance
“Wait For Me” - Vangelis
“Dead End Angels” - Bohren & der Club of Gore
“Homer Returns” - Harris Salter
"Quarto De Hotel" - Leo Franclozi
“Black City Skyline” - Bohren & der Club of Gore
“Dark Mood Woods / The Red Room” - Angelo Badalamenti
“Street Tattoo” - Bohren & der Club of Gore
“Prowler” - Bohren & der Club of Gore
“Darkstalker” - Bohren & der Club of Gore
“Midnight Walker” - Bohren & der Club of Gore
“Nightwolf” - Bohren & der Club of Gore

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