His father, Paul Godard, a Swiss doctor, moved the family to Switzerland four years later.
Followers 17 Attached below is film noir conventions essay writer quick essay on film noir I wrote a couple of years ago.
The list included is a combination of my favorite film noirs and the ones mentioned in this article. For years the challenge that comes from describing genre films has increased and decreased, simplified and intensified. It has constantly been changing and questioned.
It can be used on purpose, to hide a filmmakers meaning within a Hollywood system. It contains both semantic and syntactic approaches that try to explain the ways in identify a genre.
Explaining a genre can be obvious as in the Western or it can be difficult as in Film Noir. Many genres have risen through the history of film, some of those will be discussed; the all American Western, the film noir, the horror film and many more. The use of examples from films related to the accompanying genre will be used to also aid in the discussion of film genre.
Rick Altman posed the idea of language and the way in which language is structured and created in order to compare genre Altman The idea of syntax and semiotics; semiotics being the study of signs and their signifiers and syntax being the structure, rules and elements that build up sentences.
In film this semiotics would refer to the signs that indicate a genre, the signs and signifiers like the locations, lighting, shots and characters. The syntax of film leans more towards the relationships, tone, mood and attitudes that a certain group of films gives off Altman The best example of both of these comes in the form of the Western.
The lighting would be natural as Westerns are usually shot on location, the shots usually are composed of large environments dwarfing the lone cowboy and the characters are usually good guys and bad guys, cowboys and Indians, black hats versus the white hats Altman Using the Western yet again you can also see the syntactic approach to genre study.
The Western will have a loner who stands for truth against the gang who are out for no good. Instead of dealing with the aesthetics of the images the syntactic approach concerns itself more with the narrative layers or structure and rules of the genre Altman Rick Altman continues with this theory of semiotics and syntax of film genre in his theories but pushes them forward into a new territory.
Altman devised of a hybrid in genre theory. Again, the semiotics of a Western: There is a murderer, one could even call him an unstoppable force, he kills without mercy and with a semi-novelty killing device. Altman however has a dispute with his own approach of genre hybrids.
He points out little discrepancies he has with both the semiotics and syntax of genres.
With the syntactic privileges the structure to which films are made lean towards manipulating people. Audiences do not want to be manipulated but the syntax of genre disguises this, makes it seem new Altman The relationship between the semantic and syntactic is fundamental to the theory of how meaning of one kind either semantic of syntactic contributes to establishing a meaning to the other Altman Altman continues by saying that the more durable of genres are those that have established syntaxes e.
The discussion of film noir came up with the film No Country for Old Men, film noir has lent itself to being one of the more challenging aspects of genre identification than another kind of film group. Most genres were and are created out of the Hollywood system, if no the Hollywood system than the Westernized way of making films.
Film noir has been said that it is and cannot be a genre because it is defined by mood and tone, it did not start out with a set of criteria to which any one filmmaker used to mould a film noir it came out of an historical context Krutnik It was coined by the French after they began to notice a certain similarity to American films after the war, they were foreboding, they consisted of shadows and pessimism, they dealt with thugs, dirty cops and nasty females Krutnik 16 and Film Noir was an unsystematic categorization of films made during or after World War II and had, in conjunction, certain narrative and thematic conventions Krutnik However if you were to look during our present day one could more or less say that film noir has become a genre.
Sin City is a film that has both the semantic and syntactic approaches of film noir. It was done on purpose and made with conscious decisions as to the way the narrative and visuals would feel and relate to one another. Now we can begin to look at a few variations of genre theory, those films that seem to escape a certain classification, unlike Film Noir, their distinct style does not appear too easily, they are more coded in their appearance and trickier to group.
Take for instance Blue Velveta film that unfolds like a mystery, carries the characters that a mystery has; the deranged killer, the helpless woman vying for her family back and the young man trying to make it as a amateur sleuth.
However looking past these signifiers you start to see the same themes, a sense of melancholy and the foreboding, the journey into the night, through the underworld. So what sets films like Blue Velvet apart, why do they carry both the semantic and syntactic approaches of the same genre and yet trickle down the back side of the whole notion?Film Noir Conventions Essay.
Filed under: Conventions of Film Noir — Leave a comment. Compare how ‘Heat’ uses the conventions of Film Noir to establish atmosphere with another Film Noir of your choice.
Film Noir first originated in by the French film critics, in particular, Nino Frank who noticed that American crime and detective. That explains how the genre of ‘Film Noir’ which is used to establish pleasure for the audience.
The historical back ground of Film Noir is a French film Critic to describe certain types of films based on darkness and about the strength of people.
Scholars date the advent of motion pictures from the first public Lumière Company cinématographe exhibition in Paris, France, on December 28, , and in the United States, from the Edison Company’s New York City kinetoscope premiere on April 4, The Man Who Wasn’t There is concerned with transgressing many of film noir‘s most important conventions, (located at the beginning of this essay), the Coens are victims of a critical establishment which considers visual documentation—film and television—to be unworthy conveyers of the past.
Joel and Ethan Coen as writer. The Convention of a Thriller Film It is difficult to state a clear definition of a thriller as they cross over many genres, however the single most characteristic of a . Documenting the Documentary: Close Readings of Documentary Film and Video so engaging is that each essay (whether from the original text, produced in .