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Essay / Research Paper Abstract
A 10 page paper which examines how this Columbia Pictures’ release characterizes the film noir genre, considering the style of filming and the relationships between the characters, most notably, the homosexual undertones of Johnny Farrell and Ballin Mundson. Bibliography lists 4 sources.
Page Count:
10 pages (~225 words per page)
File: TG15_TGgilda.rtf
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Unformatted sample text from the term paper:
War I, most people were enjoying unprecedented economic prosperity that was to continue throughout the 1920s. However, the stock market crash of October 1929 ushered in The Great Depression,
which also described the mood of the majority of citizens, who had gone from riches to rags in short measure. When the Japanese bombing of Pearl Harbor in December
of 1941 assured Americas participation in World War II, while The Great Depression was technically over as the manufacturing of war materials restored the national economy, the somber tone intensified,
and continued even after a seeming return to normalcy at wars end, in 1945. Films produced shortly after the war reflect a preoccupation with the dark side of human
nature, and soon, a unique genre emerged that French theorists dubbed "film noir," which literally means black film. Film noir was, quite simply, an "inherent reaction to decades of
forced optimism" (Tuska, 1984, p. 152). These motion pictures were distinctive in terms of style and content. They were filled with contrasting images of darkness and light, which
was often muted or glimpsed only in shadows. Such films often featured the voiceover narrative of the primary protagonist, who supplements what the audience is viewing with his own
subjective observations. In his consideration of film noir, Jon Tuska (1984) noted that there are several defining characteristics that distinguished this particular genre: "There often is a crime... the
narrative structure doubly determine the actions of the protagonist... such human actions appear to be both fated and consciously willed" (p. 149). There is also an undeniable undercurrent of
sexuality, which often manifests itself as a kind of love triangle. Furthermore, the characters are often portrayed as isolated or as prisoners of their own primal desires (Tuska, 1984).
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