film lighting film noir. "i killed him for money – and for a woman. i didn't get the...
DESCRIPTION
Translates as 'black cinema', a style of film-making that is largely dependent on light for its effects. Humphrey Bogart in The Maltese FalconTRANSCRIPT
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film lighting
film noir
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"I killed him for money – and for a woman. I didn't get the money. And I didn't get the woman."
Double Indemnity (1944)
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Translates as 'black cinema', a style of film-making that is largely dependent on light for its effects.
Humphrey Bogart in The Maltese Falcon
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Term used to describe crime dramas, particularly those that emphasise moral ambiguity and sexual motivation.
Spade & Brigit
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Noirs use low-key lighting schemes,
producing stark light/dark contrasts (chiaroscuro) and dramatic shadow patterning.
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There is more to them than light. Other features include: deep-focus camera work
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disorienting visual schemes,
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jarring editing or juxtaposition of elements,
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• canted camera angles
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circling cigarette smoke,
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Unbalanced compositions.
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but it is the light that is primarily responsible for the characteristic mood
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"She can't be all bad. No one is.""Well, she comes the closest.""He couldn't find a prayer in the Bible."
"It was the bottom of the barrel, and I was scraping it."
"Oh Jeff, you ought to have killed me for what I did a minute ago.""There's still time."
a fatalistic mood leavened with provocative banter:
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Settings were often interiors with low-key lighting, Venetian-blinded windows and rooms, and dark, claustrophobic, gloomy appearances.
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Exteriors – urban night scenes with deep shadows, wet asphalt, dark alleyways, rain-slicked / mean streets, flashing neon lights, & low-key / high contrast lighting.
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Story locations were set in murky and dark streets, dimly-lit and low-rent apartments and hotel rooms of big cities, or abandoned warehouses
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The shadows of Venetian blinds cast upon an actor or a wall, are an iconic visual.
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Characters' faces may be partially or wholly obscured by darkness – a relative rarity in conventional Hollywood moviemaking.
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Films made since 1958 are generallyreferred to as neo-noir.
They include the superb Chinatown (1974)
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The influence of noir can been seen in the films of director Christopher Nolan:in Memento (2000);
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Batman Begins (2005)
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especially The Dark Knight (2008)
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Sin City (2005), made in stylised black and white with the odd bit of colour.
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"Don't be too sure I'm as crooked as I'm supposed to be."