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

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

Flashcards in Week 6, 10-1-14, Hollywood-The Studio System, Stars, Art and Industry: Part 1-STUDY OF FILM NOIR/American Genre Deck (81)
Loading flashcards...
1

Alfred Hitchcock first discovered America,

Shadow of a Doubt

2

Darkness in shadow of a doubt

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

3

Murder in Shadow of a Doubt

Charlie

4

Image of Charlie

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

5

Who disgusted Charlie?

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

6

What is shadow of a doubt really about?

about awakening, the simultaneous darkening and enlarging of the world

7

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...

What Uncle Charlie says to niece Charlie

8

"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?

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

9

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

"Do you know the world is a foul sty? Do you know if you ripped the fronts off houses you'd find swine?"

10

DOUBLE INDEMNITY Dir/

Billy WIlder

11

Double Indemnity Hero

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

12

Double Indemnity Universe

dark universe of film noir

13

Double Indemnity based on

actual 1927 criminal case of Ruth Snyder and her unfortunate husband

14

Double Indemnity gets its name from

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

15

Double Indemnity Narration paints

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

16

Double Indemnity visuals

gorgeous black and white cinematography employs shadowy interiors and chiaroscuro lighting

17

What did Double Indemnity visuals create?

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

18

What did Double Indemnity visuals hint at

hint at a sense of imprisonment

19

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.

Just a quote from reading

20

What do Neff and Phyllis Dietrichson do?

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

21

Double Idemnity ancestors

Silent German Expressionist

22

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

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

23

Who coined the phrase film noir

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

24

film noir is not

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

25

Beginning of film noir

Huston's “The Maltese Falcon”

26

End of film noir

Orson Welles’ 1958 “Touch of Evil”,

27

Span of Classical period

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

28

Film noir protagonists and social mainstream

drowning outside of the social mainstream.

29

What did film noir come to represent?

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

30

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

Moods of film noir

31

Film noir hero

the anti-hero

32

2 women of film noir

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

33

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

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

34

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.

Common visual elements of film noir

35

Common film noir plot device

flashbacks, voice-over narration

36

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

Femme Fatales

37

How did some film noir heroes survive?

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

38

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.

Quote from reading

39

Film noir gave us a peek into

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

40

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.

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

41

Femme fatale trapped

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

42

What proves film noir showed more progressive view of women?

noticeable lack of balancing images of traditional women and families.

43

Who established the archetypal film noir detective-hero?

Humphrey Bogart The Maltese Falcon (1941)

44

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

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

45

Quinlan in touch of evil and angles

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

Vargas and Quinlan, which is protagonist?

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

47

Result of Vargas pursuing Quinlan

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

48

In the end of Touch of Evil Vargas ______

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

Welles and Touch of Evil in regards to 50s

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

50

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.

Quote from readings

51

Paul Schrader calls what "film noir's epitaph" ?

Touch of Evil

52

Shadow of a Doubt about what facade?

Facade of American dream

53

What was rare about Shadow of a doubt?

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

54

Americans that left for WWII came back to what?

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

55

Laura Mulvey theory

scopophilia

56

Scopophilia

Desire to look

57

Equation of scopophilia

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

58

Who is film audience made to ID with?

MALE

59

Psychology in film noir

Freudian psychoanalysis

60

Femme Fetale and motherhood

Seen as barren and infertile

61

Double Indemnity beginning is

The ending

62

Double Indemnity writing

made to get around the code

63

Third Man filmed where?

Vienna

64

What's special about Vienna

It's a divided City

65

When was 3rd Man shot?

3 years after end of war on location

66

3rd Man has GREATEST

Entrance scene of Orson Welles

67

Orson Welles character

the selfish harry lime

68

Movie begins with ho dead?

Harry Lime

69

Nobody know what about Lime's death?

Who is the 3rd man who carried his body?

70

Third Man Music

Fun and unique zither score SINSTINCT

71

Famous third man whimsical scene

ferris wheel scene, lime meeting

72

How many cuts in ferris wheel scene?

78 (Lots of quick edits)

73

Game changer in 3rd man

Lime's grave dug up

74

Holly ends up doing what?

Turning his friend in and killing him himself

75

Raffifi dir

Jules Dasin

76

Jules Dasin

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

77

Crane shot at beginning of touch of evil pre-dates

steadi-cam

78

Lighting in touch of evil

some lighting done with pulsing neon street lights

79

Orson Welles cop in TOE

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

80

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

B-grade, masterpiece

81

Orson Welles Notes

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