Theater 120C: Final Paper In The Maltese Falcon (1941)‚ Humphrey Bogart plays Sam Spade‚ a private eye detective who is lured into the chase for a bird statue by a mysterious and deceitful woman named Ruth. His objectives are to find the Maltese Falcon‚ and discover the murderer of two crimes: the death of his former partner‚ Miles Archer‚ and another man named Thursby. He also wishes to prove his innocence for the murder of his partner because the police have him as the prime suspect. Sam approaches
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own ideas based on Ernest Becker’s book‚ The Denial of Death. Many of the ideas presented in Klassen’s essay can be applied to the movie‚ The Big Lebowski‚ along with the 40s film noir style. The Big Lebowski has such a large cult following for a couple different reasons. The first of which being that the more you watch the film‚ the more things you may notice that you didn’t notice before‚ whether it be quotable and witty lines that you didn’t catch the first
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in relation to the film. Somebody ’s going to pay because he forgot to kill me‚ this was the tagline featured on the poster for Fritz Lang ’s dark film noir classic The Big Heat which establishes the films undercurrents of violence and revenge. The plot places the films lone uncompromising homicide detective Dave Bannion‚ played by Glen Ford‚ in direct opposition to a society corrupt at almost every level‚ ranging from the mob to the police department itself. The films themes of corruption
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In many of Alfred Hitchcock’s films‚ we are able to see how specific periods influence his work. In the case of postwar era‚ Hitchcock is able to evoke the aftermath of World War II issues and themes through the sub-text of films like I Confess (Warner Brothers‚ 1953) and The Trouble with Harry (Paramount‚ 1955). Though each film is completely different from the other‚ stylistically‚ genre-wise‚ tone-wise‚ scenery-wise; they both revolve around death‚ albeit approached from an entirely different
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Metropolis: “Breaking down the utopia” In January of1927 Metropolis was released to the German public. The film‚ which was directed by Fritz Lang‚ was one of the first science fiction movies in the history of film. The film focuses on the differences between the working class who power the city and the wealthy whom indulge in it. The film was host to many German stars at the time such as Alfred Abel and Brigette Helm. As this conflict is going there is a separate yet relative
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Film genre From Wikipedia‚ the free encyclopedia See also: List of genres#Film genres and television genre In film theory‚ genre ( /ˈʒɒnrə/ or /ˈdʒɒnrə/) refers to the method based on similarities in the narrative elements from which films are constructed. Most theories of film genre are borrowed from literary genre criticism. As with genre in a literary context‚ there is a great deal of debate over how to define or categorize genres.[citation needed]. Besides the basic distinction in genre between
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During the 1940s‚ a new style of film emerged‚ which was later referred to as "film noir." These films were set apart from others due to their gritty nature and overall dark quality. They were inspired by the culture of the 1950s. There is a common belief that the 1950s was a time of complete bliss for everyone involved. In fact‚ it was a time of global distress due to communism and nuclear weapons and misogynist gender roles. Film noir movies were excellent at portraying the culture of fear of the
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Juliya Stafeyeva ENG 3270‚ BMWA Prof. Taylor The Maltese Falcon is the classic hardboiled private-eyed movie that is a great example of prototypical film noir. The main character Sam Spade is undeniably a tough and smart guy whose actions are provoked by a stunning femme fatale Brigid O’Shaughnessy. While everyone in the story eagers to find a priceless artifact‚ the black statuette of a Maltese Falcon‚ and is driven by their greed‚ Spade acts as he
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Shadow of a Doubt is no less than a perfect example of film noir. Low-key lighting‚ dramatic shadow patterning‚ and camera angles are all expertly used to foreshadow and portray the emotions and psyche of the characters. Hitchcock uses sets and props to mirror scenes‚ creates characters that are remarkably similar but simultaneously conflicting‚ and emphasizes emotions that offer contradictions. The sense of duality and contradiction in the film demonstrates how darkness can take the form of humanity
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to look outside the window examining the ominous‚ empty streets of Vienna. This shot is a prime example of the unique askew camera placement used throughout the entire film. In this shot‚ like several others‚ the frame is angled quite awkwardly. This technique embodies the creation of a dark‚ odd and intense world in which noir films took place. The next shot takes us outside with a long pan from left to right. This shot puts us in the perspective of Holly as he slowly scopes out an empty street
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