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Essay / Research Paper Abstract
A 5 page paper which compares and contrasts various film noir characteristics, and discuss how the similarities and differences in the way they are employed can be attributed to changes in politics, culture, and society. Bibliography lists 6 sources.
Page Count:
5 pages (~225 words per page)
File: TG15_TGbigla.rtf
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Unformatted sample text from the term paper:
This dark and moody genre reached its peak of popularity during the 1940s, especially from the end of World War II until the Cold War era of the mid-1950s.
Film noir typically featured Expressionist type cinematography such as creative use of light and shadows, diverse camera angles to convey point of view, a descent into the underworld typically
with some type of law enforcement official succumbing to corrupting influences, and a femme fatale (Copjec 126). Although film noir essentially faded to black by the end of the
1950s, there have been a few attempts to resurrect the genre in recent years. One of the greatest films of the period was Fritz Langs 1953 classic, The Big
Heat. Curtis Hansons 1997 ode to film noir, L.A. Confidential - ironically set in the year 1953 - lends itself well to comparison with The Big Heat primarily because
of its subject matter (socially responsible officials descending into the corruption represented by the underworld), its evocative cinematography, and a featured femme fatale. The Big Heat, which is a reference
to the pistols most police officers and criminals carry, described as packing heat, is the story of Dave Bannion (Glenn Ford), a police detective that suspects his department is turning
a blind eye to organized crime after refusing to further investigate the suspicious suicide of a longtime veteran of the force. The cinematography features the staple nontraditional lighting, with
most of the scenes taking place at night and the evil characters (including the dead policemans widow) are usually photographed as partially hidden within dark shadows, and then revealed in
harsh and unflattering lighting. In one dramatic scene near the films climactic conclusion, hit man Vince Stone (Lee Marvin) is greeted by a shadowy visitor seeking revenge after entering
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