{"id":201,"date":"2019-01-19T21:45:28","date_gmt":"2019-01-19T21:45:28","guid":{"rendered":"https:\/\/220.jcdelama.info\/?page_id=201"},"modified":"2024-12-30T12:42:22","modified_gmt":"2024-12-30T12:42:22","slug":"cinema-noir","status":"publish","type":"page","link":"https:\/\/220.jcdelama.info\/?page_id=201","title":{"rendered":"Cinema Noir"},"content":{"rendered":"\n<div class=\"wp-block-genesis-blocks-gb-columns gpb-slate-section-hero-title gb-layout-columns-1 one-column gb-has-background-dim gb-has-background-dim-20 gb-background-cover gb-background-no-repeat gb-has-custom-background-color gb-has-custom-text-color gb-columns-center alignfull\" style=\"padding-top:5em;padding-right:1em;padding-bottom:5em;padding-left:1em;background-color:#1f1f1f;color:#f5f5f5;background-image:url(https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/double-indemnity.jpg);background-position:54% 51%\"><div class=\"gb-layout-column-wrap gb-block-layout-column-gap-1 gb-is-responsive-column\" style=\"max-width:1200px\">\n<div class=\"wp-block-genesis-blocks-gb-column gb-block-layout-column\"><div class=\"gb-block-layout-column-inner\">\n<div class=\"wp-block-genesis-blocks-gb-columns gb-layout-columns-2 gb-2-col-wideleft gb-columns-center alignfull\"><div class=\"gb-layout-column-wrap gb-block-layout-column-gap-8 gb-is-responsive-column\" style=\"max-width:1200px\">\n<div class=\"wp-block-genesis-blocks-gb-column gb-block-layout-column gb-is-vertically-aligned-top\"><div class=\"gb-block-layout-column-inner\">\n<h2 class=\"has-text-color\" style=\"color:#f5f5f5;font-size:60px\">Film Noir<\/h2>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-genesis-blocks-gb-column gb-block-layout-column gb-is-vertically-aligned-center\"><div class=\"gb-block-layout-column-inner\">\n<p><\/p>\n<\/div><\/div>\n<\/div><\/div>\n<\/div><\/div>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-genesis-blocks-gb-columns gb-slate-section-feature-image-columns gb-layout-columns-1 one-column gb-has-custom-background-color gb-has-custom-text-color gb-columns-center alignfull\" style=\"padding-top:8em;padding-right:1em;padding-bottom:6em;padding-left:1em;background-color:#ededed;color:#1f1f1f\"><div class=\"gb-layout-column-wrap gb-block-layout-column-gap-2 gb-is-responsive-column\" style=\"max-width:1200px\">\n<div class=\"wp-block-genesis-blocks-gb-column gb-block-layout-column\"><div class=\"gb-block-layout-column-inner\">\n<h4>Readings:<\/h4>\n\n\n\n<ul><li><a href=\"https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/9-Casablanca.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">Casablanca<\/a><\/li><li><a href=\"https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/09\/Everybody-Comes-to-Casablanca.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">Everybody Comes to Casablanca<\/a><\/li><\/ul>\n\n\n\n<p>Mandatory movie for this learning unit:<\/p>\n\n\n\n<ul><li>Casablanca (Michael Curtiz, 1942)<\/li><\/ul>\n\n\n\n<p>:Before I start with the analysis of the genre, a brief grammatical explanation.<\/p>\n\n\n\n<p><em>The adjective that defines the genre \u201cNoir\u201d is a French word.  It means BLACK. When used is singular, Film Noir, I normally refer in this lecture to the whole genre.  When used in plural, films noir I refer to the specific movies that belong to the genre. You will see that in some cases I use the substantive adjective \u201cNoirs\u201d in plural. The adjective, in this case, replaces the noun that it modifies.<\/em><\/p>\n\n\n\n<h1>The Origin of Noir<\/h1>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/07\/4-CinemaNoir1_Intro.mp3\"><\/audio><\/figure>\n\n\n\n<ul><li>The Genre originated in the early 1940ies.<\/li><li>Frequently it is regarded as reflection of the general climate of fear, gloom and hopelessness of that time of war and post-war.<\/li><li>Continuation of the gangster and horror movies of the 1930ies.<\/li><li>Strong influence of the German Expressionism.<\/li><\/ul>\n\n\n\n<h1>Thematic Characteristics<\/h1>\n\n\n<figure class=\"wp-block-embed wp-block-embed-youtube is-type-video is-provider-youtube epyt-figure\"><div class=\"wp-block-embed__wrapper\"><div class=\"epyt-video-wrapper\"><iframe loading=\"lazy\"  id=\"_ytid_61673\"  width=\"480\" height=\"270\"  data-origwidth=\"480\" data-origheight=\"270\"  data-relstop=\"1\" src=\"https:\/\/www.youtube.com\/embed\/wZo21kfET_g?enablejsapi=1&#038;autoplay=0&#038;cc_load_policy=0&#038;cc_lang_pref=&#038;iv_load_policy=1&#038;loop=0&#038;rel=0&#038;fs=1&#038;playsinline=0&#038;autohide=2&#038;theme=dark&#038;color=red&#038;controls=1&#038;disablekb=0&#038;\" class=\"__youtube_prefs__  no-lazyload\" title=\"YouTube player\"  allow=\"fullscreen; accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen data-no-lazy=\"1\" data-skipgform_ajax_framebjll=\"\"><\/iframe><\/div><\/div><\/figure>\n\n\n<p>The narrative themes in the Noir genre much <strong>darker<\/strong> than in the mainstream movies at that time.<\/p>\n\n\n\n<p>In films Noir, we find a <strong>dark and oppressive atmosphere<\/strong>. The movies are invariably pessimist, or even fatalist. Human life is limited. The individual cannot escape his fate\/<\/p>\n\n\n\n<p>Plots\nalways happen in <strong>Urban <\/strong>settings. The\ncity is an integral part of the narration. In some cases, like in The Asphalt\nJungle (John Huston, 1950), it can be considered one more character of the story.\nThere are some exceptions to this rule, though, In The Postman Always Rings Twice\n(Tay Garnett, 1946) the whole action mostly takes place on a modest road\nrestaurant.<\/p>\n\n\n\n<p>Exteriors\nare often in <strong>night scenes<\/strong> with deep\ncontrast between <strong>light and shadow<\/strong>\n(chiaroscuro). Frequently, it is <strong>rainy<\/strong>.\nFlashing <strong>Neon lights<\/strong> also appear in\nmany movies, contributing to the effect of cheap urban environment.<\/p>\n\n\n\n<p>The\ninteriors, where most of the action takes place, are <strong>small and oppressive<\/strong>: ill lighted small apartments, poor hotel\nrooms, bordellos.<\/p>\n\n\n\n<p>M<strong>oral ambiguity<\/strong>: As opposed to what we\nlearned about the horror movies, there is <strong>no\nabsolute good or evil in Noirs (we called this distinction moral Manicheism)<\/strong>.&nbsp; What is supposed to be good, is frequently\ncorrupted, for example the police, and what is supposed to be evil, is not that\nevil. Criminals are frequently portrayed as victims of the corruption and the\nhypocrisy of society.<\/p>\n\n\n\n<p>The hero of films noir is also different. He is rather an anti-hero, because his negative character traits are predominant. Anti-heroes are cynical, ironical \u2013 or even sardonic. They are always disillusioned and lonely, frequently born losers. They do not have a cause to fight for. It is mostly their own interest what they pursue. Yet, they cannot success.<\/p>\n\n\n\n<p>Female\nmain characters frequently play dubious roles. \u201cLa femme fatale\u201d is one of the\nrecurrent narrative archetypes of the Noir. &nbsp;A \u201cfemme fatale\u201d is a beautiful, glamorous,\nsophisticated, but unscrupulous, amoral, and extremely ambitious woman, who\nfrequently is the cause of the perdition of the male anti-hero.<\/p>\n\n\n\n<p>To sum up, the noir genre invariably shows the dark and brutal side of human nature and all our weaknesses: Fear, egotism, ambition, corruption, hatred, \u2026<\/p>\n\n\n\n<h1>Narrative Stylistic Elements<\/h1>\n\n\n\n<p>The\nname of the genre, Noir, directly refers to the visual atmosphere characteristic\nof those movies.<\/p>\n\n\n\n<p>The\nexpressionistic photography, we have been calling it chiaroscuro, emphasizes\nthe contrast between light and shadows. With this photographic technique, the\nfilmmakers are able to visually support the dark undertones of the Noir stories.\n<\/p>\n\n\n\n<p>Filmmakers use deep focus (extreme visual length of the field), abundant high and low shots and unbalanced compositions.  Since the action is very limited, the filmmakers give an extraordinary dynamism to his stories with these bold visual techniques. To increase the fast rhythm of the narration, the directors use sharp dialogues and a very vibrant editing.<\/p>\n\n\n\n<p>A relevant visual factor is the smoke. Anti-heroes, practically with no exception, are chain smokers \u2013 and the smoke of the cigarettes also contributes to create the esthetic of the genre.<\/p>\n\n\n\n<p>Another recurrent narrative technique of the Cinema Noir is the \u201cvoice-over\u201d. A narrator, the very same anti-hero or someone else, tells the story in off. In Billy Wilder\u2019s Sunset Boulevard (1950), paradoxically, the narrator of the story is already dead.<\/p>\n\n\n\n<p>Films Noir use frequent flashbacks to explain the story of the characters. Flashbacks are alteration of the chronological order of the story. In most of the Noirs, the narration jumps back to a point in the story, before the main narrative starts.  <\/p>\n\n\n\n<h3>The Third Man<\/h3>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<div class=\"epyt-video-wrapper\"><iframe loading=\"lazy\"  id=\"_ytid_52615\"  width=\"480\" height=\"360\"  data-origwidth=\"480\" data-origheight=\"360\"  data-relstop=\"1\" src=\"https:\/\/www.youtube.com\/embed\/HP1VPuXEMbg?enablejsapi=1&#038;autoplay=0&#038;cc_load_policy=0&#038;cc_lang_pref=&#038;iv_load_policy=1&#038;loop=0&#038;rel=0&#038;fs=1&#038;playsinline=0&#038;autohide=2&#038;theme=dark&#038;color=red&#038;controls=1&#038;disablekb=0&#038;\" class=\"__youtube_prefs__  epyt-is-override  no-lazyload\" title=\"YouTube player\"  allow=\"fullscreen; accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen data-no-lazy=\"1\" data-skipgform_ajax_framebjll=\"\"><\/iframe><\/div>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-css-opacity\"\/>\n\n\n\n<h1>Literary Authors<\/h1>\n\n\n\n<ul><li>Dashiell Hammett<ul><li>The Maltese Falcon (1941) \/ The Glass Key (1942)<\/li><\/ul><\/li><li>Raymond Chandler<ul><li>The Big Sleep (1946), Farewell, My Lovely (1944), The Long Goodbye (1978)<\/li><\/ul><\/li><li>James M. Cain<ul><li>The Postman Always Rings Twice (1946) \/ Double Indemnity (1944)<\/li><\/ul><\/li><li>Cornell Woolrich<ul><li>Phantom Lady (1946) \/ Black Angel (1946)<\/li><\/ul><\/li><li>Mickey Spillane (Mick Hammer)<ul><li> Kiss Me Deadly (1955)<\/li><\/ul><\/li><\/ul>\n\n\n\n<hr class=\"wp-block-separator has-css-opacity\"\/>\n\n\n\n<h1>Film-Makers<\/h1>\n\n\n\n<div class=\"wp-container-3 wp-block-columns has-2-columns\">\n<div class=\"wp-container-1 wp-block-column\">\n<ul><li>Orson Welles<ul><li>The Lady From Shangai  (1948) \/ The Third Man (1949) \/ Touch Of Evil (1958)<\/li><\/ul><\/li><li>John Huston<ul><li>The Maltese Falcon (1941) The Asphalt Jungle (1950), Key Largo (1948)<\/li><\/ul><\/li><li>Billy Wilder<ul><li>Double Indemnity (1944) \/ Sunset Boulevard (1950)<\/li><\/ul><\/li><li> Robert Siodmak<ul><li>The Killers (1946) \/ Phantom lady (1946) \/ Cry of the City (1948)<\/li><\/ul><\/li><li>Fritz Lang<ul><li> Scarlet Street (1945) \/ The Woman in the Window (1944)<\/li><\/ul><\/li><\/ul>\n<\/div>\n\n\n\n<div class=\"wp-container-2 wp-block-column\">\n<ul><li>Otto Preminger<ul><li>Laura (1944) \/ Angel Face (1953)<\/li><\/ul><\/li><li>Howard Hawks<ul><li>To Have And Not To Have (1944) \/ The Big Sleep (1946)<\/li><\/ul><\/li><li>Jacques Tourneur <ul><li>Out Of Past (1947)<\/li><\/ul><\/li><li>Raul Walsh<ul><li>High Sierra (1941) <\/li><\/ul><\/li><\/ul>\n<\/div>\n<\/div>\n\n\n\n<hr class=\"wp-block-separator has-css-opacity\"\/>\n\n\n\n<h1>Actors<\/h1>\n\n\n\n<ul><li>James Cagney (the first gangster)<ul><li>Public Enemy (1941) \/ Angels With Dirty Faces (1937) \/ The Roaring Twenties (1939)<\/li><\/ul><\/li><li>Edward G. Robinson (also popular as unscrupulous gangster, but a superb actor in many different genres and roles)<ul><li>Little Cesar (1930) \/ Key Largo (1946) \/ The Woman On The Window (1944)<\/li><\/ul><\/li><li>John Garfield<ul><li>The Postman Always Rings Twice (1946) \/ Force Of Evil (1948)<\/li><\/ul><\/li><li>Robert Mitchum<ul><li>Out of Past (1947) Angel Face (1953) \/ The Big Sleep (1978)<\/li><\/ul><\/li><li>Humphrey Bogart<ul><li>The Maltese Falcon (1941) \/ The Big Sleep (1946) \/ High Sierra (1941) \/ Key Largo (1948) \/ In a Lonely Place (1950) \/ Desperate Hours (1955) \/ Casablanca (1942)<\/li><\/ul><\/li><\/ul>\n\n\n\n<h2>Femmes Fatale<\/h2>\n\n\n\n<ul><li>Veronica Lake<ul><li>The Blue Dahlia (1946)<\/li><\/ul><\/li><li>Barbara Stanwyck<ul><li>Double Indemnity (1944)<\/li><\/ul><\/li><li>Joan Bennett<ul><li>The Woman On The Window (1944) \/ Scarlet Street (1945)<\/li><\/ul><\/li><li> Lana Turner<ul><li>The Postman Always Rings Twice (1946)<\/li><\/ul><\/li><li>Ava Gadner<ul><li>The Killers (1946)<\/li><\/ul><\/li><li>Jane Greer<ul><li>Out of Past (1947) <\/li><\/ul><\/li><\/ul>\n\n\n\n<hr class=\"wp-block-separator has-css-opacity\"\/>\n\n\n\n<h1>Films<\/h1>\n\n\n\n<h2>The Maltese Falcon (1941)<\/h2>\n\n\n\n<div class=\"wp-container-6 wp-block-columns has-2-columns\">\n<div class=\"wp-container-4 wp-block-column\">\n<ul><li>Director: Jon Huston<\/li><li>Cinematographer: Arthur Edeson<\/li><li>Music: Adolph Deutsch<\/li><li>Screenplay: Dashiell Hammett (based on his own novel)<\/li><li>Starring: Humphrey Bogart, Mary Astor, Peter Lorre, Kaspar Gutman<\/li><\/ul>\n<\/div>\n\n\n\n<div class=\"wp-container-5 wp-block-column\">\n<figure class=\"wp-block-image is-resized\"><img loading=\"lazy\" src=\"https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/The-Maltese-Falcon-683x1024.jpg\" alt=\"\" class=\"wp-image-206\" width=\"171\" height=\"256\" srcset=\"https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/The-Maltese-Falcon-683x1024.jpg 683w, https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/The-Maltese-Falcon-200x300.jpg 200w, https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/The-Maltese-Falcon-768x1152.jpg 768w, https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/The-Maltese-Falcon.jpg 960w\" sizes=\"(max-width: 171px) 100vw, 171px\" \/><\/figure>\n<\/div>\n<\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<div class=\"epyt-video-wrapper\"><iframe loading=\"lazy\"  id=\"_ytid_60193\"  width=\"480\" height=\"270\"  data-origwidth=\"480\" data-origheight=\"270\"  data-relstop=\"1\" src=\"https:\/\/www.youtube.com\/embed\/1kk3Xvw7jn0?enablejsapi=1&#038;autoplay=0&#038;cc_load_policy=0&#038;cc_lang_pref=&#038;iv_load_policy=1&#038;loop=0&#038;rel=0&#038;fs=1&#038;playsinline=0&#038;autohide=2&#038;theme=dark&#038;color=red&#038;controls=1&#038;disablekb=0&#038;\" class=\"__youtube_prefs__  epyt-is-override  no-lazyload\" title=\"YouTube player\"  allow=\"fullscreen; accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen data-no-lazy=\"1\" data-skipgform_ajax_framebjll=\"\"><\/iframe><\/div>\n<\/div><\/figure>\n\n\n\n<h2>Double Indemnity (1944)<\/h2>\n\n\n\n<div class=\"wp-container-9 wp-block-columns has-2-columns\">\n<div class=\"wp-container-7 wp-block-column\">\n<ul><li>Director: Billy Wilder<\/li><li>Cinematographer: John F. Seitz<\/li><li>Music: Miklos Rozsa<\/li><li>Screenplay: Billy Wilder and Raymond Chandler (based on a novel by James M. Cain)<\/li><li>Starring: Barbara Stanwyck, Fred MacMurray, and Edward G. Robinson <\/li><\/ul>\n<\/div>\n\n\n\n<div class=\"wp-container-8 wp-block-column\">\n<figure class=\"wp-block-image\"><img loading=\"lazy\" width=\"830\" height=\"575\" src=\"https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/double-indemnity.jpg\" alt=\"\" class=\"wp-image-207\" srcset=\"https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/double-indemnity.jpg 830w, https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/double-indemnity-300x208.jpg 300w, https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/double-indemnity-768x532.jpg 768w\" sizes=\"(max-width: 830px) 100vw, 830px\" \/><\/figure>\n<\/div>\n<\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<div class=\"epyt-video-wrapper\"><iframe loading=\"lazy\"  id=\"_ytid_38406\"  width=\"480\" height=\"270\"  data-origwidth=\"480\" data-origheight=\"270\"  data-relstop=\"1\" src=\"https:\/\/www.youtube.com\/embed\/ngwm8bQM-NY?enablejsapi=1&#038;autoplay=0&#038;cc_load_policy=0&#038;cc_lang_pref=&#038;iv_load_policy=1&#038;loop=0&#038;rel=0&#038;fs=1&#038;playsinline=0&#038;autohide=2&#038;theme=dark&#038;color=red&#038;controls=1&#038;disablekb=0&#038;\" class=\"__youtube_prefs__  epyt-is-override  no-lazyload\" title=\"YouTube player\"  allow=\"fullscreen; accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen data-no-lazy=\"1\" data-skipgform_ajax_framebjll=\"\"><\/iframe><\/div>\n<\/div><\/figure>\n\n\n\n<h2>Laura (1944)<\/h2>\n\n\n\n<div class=\"wp-container-12 wp-block-columns has-2-columns\">\n<div class=\"wp-container-10 wp-block-column\">\n<ul><li>Director: Otto Preminger (Robert Mamoulian \u2013 started)<\/li><li>Cinematographer: Joseph LaSelle<\/li><li>Screenplay: Jay Dratler, Samuel Hoffenstein, Betty Reinhard (based on a novel by Vera Caspary)<\/li><li>Music: David Raksin<\/li><li>Starring: Gene Tierney, Dana Andrews, and Clifton Webb (who won an academy award as the best supporting actor).<\/li><\/ul>\n\n\n\n<p><\/p>\n<\/div>\n\n\n\n<div class=\"wp-container-11 wp-block-column\">\n<figure class=\"wp-block-image is-resized\"><img loading=\"lazy\" src=\"https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/Laura-683x1024.jpg\" alt=\"\" class=\"wp-image-208\" width=\"171\" height=\"256\" srcset=\"https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/Laura-683x1024.jpg 683w, https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/Laura-200x300.jpg 200w, https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/Laura-768x1152.jpg 768w, https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/Laura.jpg 960w\" sizes=\"(max-width: 171px) 100vw, 171px\" \/><\/figure>\n<\/div>\n<\/div>\n\n\n\n<h2>The Big Sleep (1946)<\/h2>\n\n\n\n<div class=\"wp-container-15 wp-block-columns has-2-columns\">\n<div class=\"wp-container-13 wp-block-column\">\n<ul><li>Director: Howard Hawks<\/li><li>Cinematography: Sid Hickox<\/li><li>Screenplay: By William Faulkner (with assistance of Leigh Brackett and Jules Furthman, based on a novel by Raymond Chandler)<\/li><li>Music: Max Steiner (The great composer).<\/li><li>Starring: Humphrey Bogart and Lauren Bacall (They were married 4 months before the release of the movie). <\/li><\/ul>\n<\/div>\n\n\n\n<div class=\"wp-container-14 wp-block-column\">\n<figure class=\"wp-block-image is-resized\"><img loading=\"lazy\" src=\"https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/The-Big-Sleep.jpg\" alt=\"\" class=\"wp-image-209\" width=\"175\" height=\"263\" srcset=\"https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/The-Big-Sleep.jpg 350w, https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/The-Big-Sleep-200x300.jpg 200w\" sizes=\"(max-width: 175px) 100vw, 175px\" \/><\/figure>\n<\/div>\n<\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<div class=\"epyt-video-wrapper\"><iframe loading=\"lazy\"  id=\"_ytid_82452\"  width=\"480\" height=\"270\"  data-origwidth=\"480\" data-origheight=\"270\"  data-relstop=\"1\" src=\"https:\/\/www.youtube.com\/embed\/QPckHuie8zc?enablejsapi=1&#038;autoplay=0&#038;cc_load_policy=0&#038;cc_lang_pref=&#038;iv_load_policy=1&#038;loop=0&#038;rel=0&#038;fs=1&#038;playsinline=0&#038;autohide=2&#038;theme=dark&#038;color=red&#038;controls=1&#038;disablekb=0&#038;\" class=\"__youtube_prefs__  epyt-is-override  no-lazyload\" title=\"YouTube player\"  allow=\"fullscreen; accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen data-no-lazy=\"1\" data-skipgform_ajax_framebjll=\"\"><\/iframe><\/div>\n<\/div><\/figure>\n\n\n\n<h2>The Killers (1946)<\/h2>\n\n\n\n<div class=\"wp-container-18 wp-block-columns has-2-columns\">\n<div class=\"wp-container-16 wp-block-column\">\n<ul><li>Director: Robert Siodmak<\/li><li>Cinematography: Woody Bredell<\/li><li>Screenplay: Anthony Veiller and John Huston (based very freely on a short story by Ernest Hemingway \u2013 actually just the first 13 minutes of the movie are based on Hemingway\u2019s 10 pages story).<\/li><li>Music: Miklos Rozsa<\/li><li>Starring: Burt Lancaster, Ava Gadner, and Edmond O\u2019Brian. <\/li><\/ul>\n\n\n\n<p><\/p>\n<\/div>\n\n\n\n<div class=\"wp-container-17 wp-block-column\">\n<figure class=\"wp-block-image\"><img loading=\"lazy\" width=\"220\" height=\"332\" src=\"https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/The-Killers.jpg\" alt=\"\" class=\"wp-image-210\" srcset=\"https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/The-Killers.jpg 220w, https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/The-Killers-199x300.jpg 199w\" sizes=\"(max-width: 220px) 100vw, 220px\" \/><\/figure>\n<\/div>\n<\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<div class=\"epyt-video-wrapper\"><iframe loading=\"lazy\"  id=\"_ytid_29119\"  width=\"480\" height=\"360\"  data-origwidth=\"480\" data-origheight=\"360\"  data-relstop=\"1\" src=\"https:\/\/www.youtube.com\/embed\/KQ9QibWGP80?enablejsapi=1&#038;autoplay=0&#038;cc_load_policy=0&#038;cc_lang_pref=&#038;iv_load_policy=1&#038;loop=0&#038;rel=0&#038;fs=1&#038;playsinline=0&#038;autohide=2&#038;theme=dark&#038;color=red&#038;controls=1&#038;disablekb=0&#038;\" class=\"__youtube_prefs__  epyt-is-override  no-lazyload\" title=\"YouTube player\"  allow=\"fullscreen; accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen data-no-lazy=\"1\" data-skipgform_ajax_framebjll=\"\"><\/iframe><\/div>\n<\/div><\/figure>\n\n\n\n<h2>The Lady From Shanghai (1948)<\/h2>\n\n\n\n<div class=\"wp-container-21 wp-block-columns has-2-columns\">\n<div class=\"wp-container-19 wp-block-column\">\n<ul><li>Director: Orson Welles, <\/li><li>Cinematography: Charles Lawton Jr., Rudolph Mat\u00e9, and Joseph Walker<\/li><li>Screenplay: Orson Welles (based on a novel by Sherwood King \u201cIf I Die Before I Wake\u201d).<\/li><li>Music: Doris Fisher, Heinz Roemheld<\/li><li>Starring: Orson Welles and Rita Hayworth <\/li><\/ul>\n<\/div>\n\n\n\n<div class=\"wp-container-20 wp-block-column\">\n<figure class=\"wp-block-image is-resized\"><img loading=\"lazy\" src=\"https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/The-Lady-from-Shanghai.jpg\" alt=\"\" class=\"wp-image-211\" width=\"171\" height=\"266\" srcset=\"https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/The-Lady-from-Shanghai.jpg 600w, https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/The-Lady-from-Shanghai-193x300.jpg 193w\" sizes=\"(max-width: 171px) 100vw, 171px\" \/><\/figure>\n<\/div>\n<\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<div class=\"epyt-video-wrapper\"><iframe loading=\"lazy\"  id=\"_ytid_64302\"  width=\"480\" height=\"360\"  data-origwidth=\"480\" data-origheight=\"360\"  data-relstop=\"1\" src=\"https:\/\/www.youtube.com\/embed\/F-BqDWG72iM?enablejsapi=1&#038;autoplay=0&#038;cc_load_policy=0&#038;cc_lang_pref=&#038;iv_load_policy=1&#038;loop=0&#038;rel=0&#038;fs=1&#038;playsinline=0&#038;autohide=2&#038;theme=dark&#038;color=red&#038;controls=1&#038;disablekb=0&#038;\" class=\"__youtube_prefs__  epyt-is-override  no-lazyload\" title=\"YouTube player\"  allow=\"fullscreen; accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen data-no-lazy=\"1\" data-skipgform_ajax_framebjll=\"\"><\/iframe><\/div>\n<\/div><\/figure>\n\n\n\n<h2>The Third Man (1949)<\/h2>\n\n\n\n<div class=\"wp-container-24 wp-block-columns has-2-columns\">\n<div class=\"wp-container-22 wp-block-column\">\n<ul><li>Director: Carol Reed<\/li><li>Cinematography: Robert Krasker<\/li><li>Screenplay: Graham Greene, Alexander Korda, Carol Reed, Orson Welles (Based on his own short novel)<\/li><li>Music: Anton Karas (unforgettable Zither music)<\/li><li>Starring: Orson Welles, Joseph Cotten, Alida Valli <\/li><\/ul>\n<\/div>\n\n\n\n<div class=\"wp-container-23 wp-block-column\">\n<figure class=\"wp-block-image is-resized\"><img loading=\"lazy\" src=\"https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/The-Third-Man-683x1024.jpg\" alt=\"\" class=\"wp-image-212\" width=\"205\" height=\"307\" srcset=\"https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/The-Third-Man-683x1024.jpg 683w, https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/The-Third-Man-200x300.jpg 200w, https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/The-Third-Man-768x1152.jpg 768w, https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/The-Third-Man.jpg 2000w\" sizes=\"(max-width: 205px) 100vw, 205px\" \/><\/figure>\n<\/div>\n<\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<div class=\"epyt-video-wrapper\"><iframe loading=\"lazy\"  id=\"_ytid_89162\"  width=\"480\" height=\"360\"  data-origwidth=\"480\" data-origheight=\"360\"  data-relstop=\"1\" src=\"https:\/\/www.youtube.com\/embed\/21h0G_gU9Tw?enablejsapi=1&#038;autoplay=0&#038;cc_load_policy=0&#038;cc_lang_pref=&#038;iv_load_policy=1&#038;loop=0&#038;rel=0&#038;fs=1&#038;playsinline=0&#038;autohide=2&#038;theme=dark&#038;color=red&#038;controls=1&#038;disablekb=0&#038;\" class=\"__youtube_prefs__  epyt-is-override  no-lazyload\" title=\"YouTube player\"  allow=\"fullscreen; accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen data-no-lazy=\"1\" data-skipgform_ajax_framebjll=\"\"><\/iframe><\/div>\n<\/div><\/figure>\n\n\n\n<h2>Kiss Me Deadly (1955)<\/h2>\n\n\n\n<div class=\"wp-container-27 wp-block-columns has-2-columns\">\n<div class=\"wp-container-25 wp-block-column\">\n<ul><li>Director: Robert Aldrich<\/li><li>Cinematography: Ernest Laszlo<\/li><li>Screenplay: Mickey Spillane<\/li><li>Starring: Ralph Meeker (as unforgettable Mick Hammer) <\/li><\/ul>\n<\/div>\n\n\n\n<div class=\"wp-container-26 wp-block-column\">\n<figure class=\"wp-block-image is-resized\"><img loading=\"lazy\" src=\"https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/Kiss-Me-Deadly-551x1024.jpg\" alt=\"\" class=\"wp-image-213\" width=\"138\" height=\"256\" srcset=\"https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/Kiss-Me-Deadly-551x1024.jpg 551w, https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/Kiss-Me-Deadly-162x300.jpg 162w, https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/Kiss-Me-Deadly-768x1427.jpg 768w, https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/Kiss-Me-Deadly.jpg 800w\" sizes=\"(max-width: 138px) 100vw, 138px\" \/><\/figure>\n<\/div>\n<\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<div class=\"epyt-video-wrapper\"><iframe loading=\"lazy\"  id=\"_ytid_63772\"  width=\"480\" height=\"270\"  data-origwidth=\"480\" data-origheight=\"270\"  data-relstop=\"1\" src=\"https:\/\/www.youtube.com\/embed\/sjVmZAwg7lQ?enablejsapi=1&#038;autoplay=0&#038;cc_load_policy=0&#038;cc_lang_pref=&#038;iv_load_policy=1&#038;loop=0&#038;rel=0&#038;fs=1&#038;playsinline=0&#038;autohide=2&#038;theme=dark&#038;color=red&#038;controls=1&#038;disablekb=0&#038;\" class=\"__youtube_prefs__  epyt-is-override  no-lazyload\" title=\"YouTube player\"  allow=\"fullscreen; accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen data-no-lazy=\"1\" data-skipgform_ajax_framebjll=\"\"><\/iframe><\/div>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-css-opacity\"\/>\n\n\n\n<h1>Literature<br><\/h1>\n\n\n\n<ul><li>Dickos, Andrew: \u201cStreet with no name. A History of the Classic American Film Noir\u201d. The University Press of Kentucky, 2002.<br>Hirsch, Foster: \u201cFilm Noir. The Dark Side of the Screen\u201d. Da Capo Press, 1981.<br>Dimendberg, Edward: \u201cFilm Noir and the Spaces of Modernity\u201d Harvard University Press, 2004.<br><a href=\"https:\/\/www.filmsite.org\/filmnoir.html\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Film Noir Online portal (opens in a new tab)\">Film Noir Online portal<\/a><\/li><\/ul>\n\n\n\n<p><\/p>\n<\/div><\/div>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_genesis_hide_title":true,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":""},"featured_image_src":null,"featured_image_src_square":null,"_links":{"self":[{"href":"https:\/\/220.jcdelama.info\/index.php?rest_route=\/wp\/v2\/pages\/201"}],"collection":[{"href":"https:\/\/220.jcdelama.info\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/220.jcdelama.info\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/220.jcdelama.info\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/220.jcdelama.info\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=201"}],"version-history":[{"count":29,"href":"https:\/\/220.jcdelama.info\/index.php?rest_route=\/wp\/v2\/pages\/201\/revisions"}],"predecessor-version":[{"id":1237,"href":"https:\/\/220.jcdelama.info\/index.php?rest_route=\/wp\/v2\/pages\/201\/revisions\/1237"}],"wp:attachment":[{"href":"https:\/\/220.jcdelama.info\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=201"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}