The Dark Knight and The Matrix neo-noir characteristics Both movies show neo-noir characteristics though both production and story elements. Production elements such as the dark scenes throughout the movie are used to show the contrasting sides to the story. Within both movies it also shows that a friend of the main character dies‚ and it shows how this may be devastating to the character however they avoid showing emotion or grief as they are determined to finish their quest and do what is right
Premium Warner Bros. Gotham City Two-Face
Genres:Neo Noir Johnny Morrison (Alan Ladd): "You oughta have more sense than to take chances with strangers like this." Joyce Harwood (Veronica Lake): "It’s funny‚ but practically all the people I know were strangers when I met them." This quote comes from “The Blue Dahlia” 1946 film directed by George Marshall. This film was created during the popular film noir era in 1940’s‚ and is referenced in “The Black Dahlia” a film directed by Brian Da Palma which is his homage to the film noir era. This
Premium Film noir
Genre The genre Noir was created in the early 1940’s to 1950’s with an influx of popular noir films being made in this era. Film noir is a movie definition‚ which is primarily used to define stylish Hollywood crime dramas‚ mostly those that underline skeptical attitudes and sexual motivations. Film noirs most noticeable feature is the low key black and white style. Numerous stories of the genre noir were crime based. Noir has many specific techniques that are used in the films‚ which give it the
Premium Film noir
Amanda Artinger Ms. Owen Noir 6 March 2012 Double Indemnity The film Double Indemnity _________ the classic Film Noir conventions and characteristics. From the very beginning of the film‚ the audience is introduced to a setting of a dark city night‚ with streetlights creating reflections off the water gleaming from the pavement. The mood is enhanced through German expressionalism; almost completely dark lighting was used as well as vertical lines to enhance drama and mood. In one scene‚ the blinds
Premium Film noir World War II
movies introduce their audiences to varying experiences that heighten their senses and grasp their focus‚ some measure of relatability is necessary to connect with audiences. Such concepts of implementing elements of realism into the various facets of a film help establish a relevant connection‚ through which audiences can relate. However during the Hollywood Classical era‚ introducing such techniques of intensifying realism in movies was often unconventional and not an achievable goal for directors and
Premium Film noir Citizen Kane
Contrastingly‚ the idea of the ‘eternal feminine’ suggests that men and women have different essence at the core. In Vertigo and film noir in general male and female relationships often appear as a decoy sustained by a fear of death. ‘Woman‚ for man‚ is death’ (Cixious). As an illustration‚ the mis-en-scene of Vertigo could be seen as linking the character of Madeline/Judy to death with the flowers and the church yard. Nevertheless‚ with the presence of the mirror shot in which we see Madeline twice
Premium
Film analysis - Drive The movie Drive stars Ryan Gossling as the dark and mysterious “Driver”. He works as a wheelman for hire in Los Angeles. At daytime he stunt drives for film productions‚ and at night he’s steering getaway vehicles for armed heists. When he meets his neighbour Irene (Carey Mulligan)‚ a vulnerable mother‚ he falls in love. When her boyfriend Standard (Oscar Isaac) returns from prison‚ Irene and her son gets dragged into a dangerous underworld. Driver acts as the superhero in
Premium Film noir Love American films
A-Question-Yet-To-Be-Set but for now: Film noir is both a screen style and a perspective on human existence and society. Film noir’s darker themes and stylistic features enable it to address and explore the crux of the existential angst that humanity endures. Thus‚ the fifties are revived in Bryan Singer’s film‚ ‘The Usual Suspects’ by its translation of The Classic Questions into a modern context. In certain scenes of this film- ‘Redfoot-LA’‚ ‘Meeting Kobayashi’ and the ‘The greatest trick the
Premium Truth Reality Film noir
fatale can never survive‚ and can never “win” in the battle of the sexes. But why must this be so? What makes the femme fatale such a dangerously curious character for the hero as well as the viewer? In E. Ann Kaplan’s’ Women in Film Noir‚ Richard Dyer states “…women in film noir are above all else unknowable. It is not so much their evil as their unknowability (and attractiveness) that makes them fatal for the hero.” (Dyer‚ p.92) Dyer’s observation alludes to the connection between the ambiguous female
Premium Film noir
Double Indemnity Film Noir “Double Indemnity” is the classic example of the film noir style and also set some standards for movies to come. Film noir is not necessarily a type of genre but rather a tone that branched of from the crime/gangster sags of the 1930’s. It has certain elements such as crime‚ greed‚ and violence that are supposed to represent the same type of evils in society and of course a moral conflict at the base of the plot. The protagonists in film noir are normally driven by
Premium Film noir