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film history origins > Week 6, 10-1-14, Hollywood-The Studio System, Stars, Art and Industry: Part 1-STUDY OF FILM NOIR/American Genre > Flashcards

Week 6, 10-1-14, Hollywood-The Studio System, Stars, Art and Industry: Part 1-STUDY OF FILM NOIR/American Genre Flashcards

1
Q

Alfred Hitchcock first discovered America,

A

Shadow of a Doubt

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2
Q

Darkness in shadow of a doubt

A

Hitchcock sees darkness as less an infiltrating outside force than as the repressed backside of normalcy.

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3
Q

Murder in Shadow of a Doubt

A

Charlie

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4
Q

Image of Charlie

A

Charlie emerges as a virtual parody of the handsome-dandy image cherished by “normal” society.

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5
Q

Who disgusted Charlie?

A

disgust for the kind of rich women he has killed in the past

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6
Q

What is shadow of a doubt really about?

A

about awakening, the simultaneous darkening and enlarging of the world

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7
Q

You wake up every morning of your life and you know perfectly well that there’s nothing in the world to trouble you. You go through your ordinary little day and at night you sleep your untroubled, ordinary little sleep filled with peaceful, stupid dreams. And I brought you nightmares…

A

What Uncle Charlie says to niece Charlie

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8
Q

“The cities are full of women, middle-aged widows, husbands dead, husbands who’ve spent their lives making fortunes, working and working. And then they die - from what scene?

A

Dining Room scene
– But, they’re alive! they’re human beings!
-Younger Charlie

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9
Q

If you ripped off the front of houses you’d find

A

“Do you know the world is a foul sty? Do you know if you ripped the fronts off houses you’d find swine?”

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10
Q

DOUBLE INDEMNITY Dir/

A

Billy WIlder

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11
Q

Double Indemnity Hero

A

A disillusioned anti-hero with questionable ethics meets a dame with gorgeous gams that can’t be trusted.

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12
Q

Double Indemnity Universe

A

dark universe of film noir

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13
Q

Double Indemnity based on

A

actual 1927 criminal case of Ruth Snyder and her unfortunate husband

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14
Q

Double Indemnity gets its name from

A

insurance policy clause which pays the beneficiary double in the event that their spouse dies accidentally.

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15
Q

Double Indemnity Narration paints

A

indelible portrait of a weak and corrupt man painfully aware of his imminent demise

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16
Q

Double Indemnity visuals

A

gorgeous black and white cinematography employs shadowy interiors and chiaroscuro lighting

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17
Q

What did Double Indemnity visuals create?

A

creating visual markers that reflect each character’s internal conflicts and motives.

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18
Q

What did Double Indemnity visuals hint at

A

hint at a sense of imprisonment

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19
Q

The long silent street of film noir, a street where it is always night, and where the songs are always sad. That street is usually a dingy urban alley or a dank sidestreet, but in Billy Wilder’s Double Indemnity, it was a deceptively quiet suburban avenue.

A

Just a quote from reading

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20
Q

What do Neff and Phyllis Dietrichson do?

A

they plot the murder of her husband are followed by the obsessive, relentless Keyes

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21
Q

Double Idemnity ancestors

A

Silent German Expressionist

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22
Q

What did Writer (Cain) of Double Indemnity think about movie?

A

Cain felt Chandler (screenwriter) had done a better job on the film of Double Indemnity than Cain had done on the novel

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23
Q

Who coined the phrase film noir

A

French film critics who noticed the trend of how dark and black the looks and themes

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24
Q

film noir is not

A

not a genre, but rather the mood, style or tone of a film.

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25
Q

Beginning of film noir

A

Huston’s “The Maltese Falcon”

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26
Q

End of film noir

A

Orson Welles’ 1958 “Touch of Evil”,

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27
Q

Span of Classical period

A

“classic noir period”, spanned the interval just after World War II, until the early to mid-1950s.

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28
Q

Film noir protagonists and social mainstream

A

drowning outside of the social mainstream.

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29
Q

What did film noir come to represent?

A

America’s stylized vision of itself, a cultural reflection of the mental dysfunction of a nation in uncertain transition.

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30
Q

melancholy, alienation, bleakness, disillusionment, disenchantment, pessimism, ambiguity, moral corruption, evil, guilt and paranoia.

A

Moods of film noir

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31
Q

Film noir hero

A

the anti-hero

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32
Q

2 women of film noir

A

The Madonna (good wife, or good-girl) & the Femme Fatale.

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33
Q

Film noir’s gloomy grays, blacks and whites show _______

A

the dark and inhumane side of human nature with cynicism and doomed love

34
Q

expressionistic lighting, disorienting visual schemes and skewed camera angles, circling cigarette smoke, existential sensibilities, and unbalanced compositions. Settings are often interiors with low-key lighting, venetian-blinded windows, and dark and gloomy appearances.

A

Common visual elements of film noir

35
Q

Common film noir plot device

A

flashbacks, voice-over narration

36
Q

These women were black widows who slowly drew in the heroes with come-hither looks and breathless voices.

A

Femme Fatales

37
Q

How did some film noir heroes survive?

A

Some of the heroes learned to play by the rules of film noir and survived by exposing corruption

38
Q

While soldiers went to war, film noir exposed a darker side of life, balancing the optimism of Hollywood musicals and comedies by supplying seedy, two-bit criminals and doom-laden atmospheres.

A

Quote from reading

39
Q

Film noir gave us a peek into

A

gave us a peek into the alleys and backrooms of a world filled with corruption.

40
Q

women are confined by the roles traditionally open to them — that their destructive struggle for independence is a response to the restrictions that men place on them.

A

Femme fatale ultimately destroyed by societal roles from men & not by self

41
Q

Femme fatale trapped

A

femme fatale is trapped within the male-female relationship and resorts to murder as her only means of escape.

42
Q

What proves film noir showed more progressive view of women?

A

noticeable lack of balancing images of traditional women and families.

43
Q

Who established the archetypal film noir detective-hero?

A

Humphrey Bogart The Maltese Falcon (1941)

44
Q

What film makes the audience aware of the camera and the director even before the opening credits have begun to roll.

A

Touch of Evil (camera glides along behind a car, roams through the streets, and slides over the tops of buildings )

45
Q

Quinlan in touch of evil and angles

A

Initially Quinlan is filmed from a low-angle perspective. Because of the low-angle shot, his enormous body dominates the screen, emphasizing his power and confidence. Later, when he has been caught planting evidence and then committing murder, Quinlan is seen almost exclusively from above; the effect is to make Quinlan look small, isolated, and trapped.

46
Q

Vargas and Quinlan, which is protagonist?

A

both men are flawed, and it is not clear which man is the protagonist

47
Q

Result of Vargas pursuing Quinlan

A

He pursues Quinlan relentlessly, and in doing so he neglects and endangers his own wife

48
Q

In the end of Touch of Evil Vargas ______

A

destroys Quinlan, but he does not understand the tragedy of Quinlan’s fall, nor does he restore order to the town or closure to the film — he only leaves a vacuum.

49
Q

Welles and Touch of Evil in regards to 50s

A

Welles altered film noir conventions developed for the 1940s in order to comment on the American psyche of the 1950s

50
Q

In Touch of Evil, men and women are even more alienated from one another than they were in the classic period of film noir; it is the traditional married woman whose very existence is a threat, while a prostitute — the ultimate unmarried woman who never demands commitment from men — is seen as unthreatening and nurturing.

A

Quote from readings

51
Q

Paul Schrader calls what “film noir’s epitaph” ?

A

Touch of Evil

52
Q

Shadow of a Doubt about what facade?

A

Facade of American dream

53
Q

What was rare about Shadow of a doubt?

A

It was a critical film of US, which was rare in a time of war

54
Q

Americans that left for WWII came back to what?

A

A WHOLE different America, where women didn’t go back to house wiving and were workers

55
Q

Laura Mulvey theory

A

scopophilia

56
Q

Scopophilia

A

Desire to look

57
Q

Equation of scopophilia

A

1/2 voyeurism (desire to look at others) 1/2 narcissism (self ID)

58
Q

Who is film audience made to ID with?

A

MALE

59
Q

Psychology in film noir

A

Freudian psychoanalysis

60
Q

Femme Fetale and motherhood

A

Seen as barren and infertile

61
Q

Double Indemnity beginning is

A

The ending

62
Q

Double Indemnity writing

A

made to get around the code

63
Q

Third Man filmed where?

A

Vienna

64
Q

What’s special about Vienna

A

It’s a divided City

65
Q

When was 3rd Man shot?

A

3 years after end of war on location

66
Q

3rd Man has GREATEST

A

Entrance scene of Orson Welles

67
Q

Orson Welles character

A

the selfish harry lime

68
Q

Movie begins with ho dead?

A

Harry Lime

69
Q

Nobody know what about Lime’s death?

A

Who is the 3rd man who carried his body?

70
Q

Third Man Music

A

Fun and unique zither score SINSTINCT

71
Q

Famous third man whimsical scene

A

ferris wheel scene, lime meeting

72
Q

How many cuts in ferris wheel scene?

A

78 (Lots of quick edits)

73
Q

Game changer in 3rd man

A

Lime’s grave dug up

74
Q

Holly ends up doing what?

A

Turning his friend in and killing him himself

75
Q

Raffifi dir

A

Jules Dasin

76
Q

Jules Dasin

A

American Noir director. Had to flee US b/c of McCarthy blacklist, made a career for himself in France

77
Q

Crane shot at beginning of touch of evil pre-dates

A

steadi-cam

78
Q

Lighting in touch of evil

A

some lighting done with pulsing neon street lights

79
Q

Orson Welles cop in TOE

A

Crooked- sets up crimes to “solve”, solves em every time

80
Q

Touch of Evil originally seen as _____ but now seen as _____

A

B-grade, masterpiece

81
Q

Orson Welles Notes

A

Described exactly how he wanted TOE to be done, studios didn’t listen. Released edited version of his notes=brilliant (postmortem)

film history origins (6 decks)

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