Sep. 27

Reflecting on the notes (just in case whoever sees the metric ton of notes and skips past this)

The thematic notes I've taken here today are extremely helpful to bear in mind as we were briefed on our two big assessments today- Criteria A and B, but specifically for criteria B. I really hope that I get to be the director for this project, because I've never gotten a chance to direct during all my years taking the MYP film course. It's a pity, because I feel like it's a job I would enjoy. I have some ideas especially for this film noir course, but I'd be fine if someone else took charge. Also, I hope my group doesn't make me play the femme fatale- I know that acting like that kind of character isn't my strong point.

For our Crit. A piece of writing, though, if I decide to document the history and evolution of film these notes contain great points about why people turned to film noir in their creative age as well as inspiration and examples to back those up. 

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WHAT IS FILM NOIR?
• French for black film
• Genre that peaked in the 1944-1955 period



ORIGINS
DETECTIVE NOVELS OF THE LATE  40s
Detective novels of Dashiell Hammett 1929-34
Detective novels of Raymond Chandler 1933-43
Femme Fatale novels of James Cain 1934-42

THEMES
Contemporary world that’s lost its moral compass and certainty (Noir universes)
Prevailing cynicism of characters
Reactions to Atomic bombing, Cold War, totalitarianism, corrupting power of government and press, men returning from WW2, crisis of liberal movement.

PROTAGONIST
Not the traditional 'hero', average and conventional.
Often a war veteran or detective
A loner: introverted, troubled, hard-boiled, pessimistic
Pre- noir, protagonists were like spartacus but when it blew up, protags became more real and had problems.

ANTAGONIST
Femme Fatale
Lures, tempts, seduces the hero
Usually already possesses another an e.g. an older proprietary husband
From broad gender stereotyping: "damsel in distress" into antagonists.
When noir hit big women were left alone because men had gone to war- women were the ones running America and this shifted the sexual dynamic when men came back.

THE GOOD WOMAN
The opposite to the femme fatale, usually a wife or girlfriend associated with home/nurturing/rehabilitation

Film industry and art in general being constructed but rather the life and times they live in. 

CHARACTERISTICS
Seeker/hero is on a quest
Repeatedly tested, interrogated, attacked, persecuted, etc.
Either emerge safely, uncorrupted, or killed (which is important because this used to be only the first one: safely)
Things are always not what they seem i.e. guy expecting woman to fall in love with him but she's totally screwing with him
People are not who they seem they are and have different identities
Plot always has unforeseen twists and turns
Usually a first person voiceover or monologue

THE NOIR UNIVERSE
Outside: dark, mean streets of the big city or a too ideal LA, beaches, apartments, palm limed trees
Sometimes shown scenes that are glossy and beautiful but they use this to contrast how awful it is underground and things are not what they seem
Inside: nightclubs, cafes, police stations, haunts of the underworld (???)
Internal: violence, trauma, nightmares of the hero's mind and cynicism

CINEMATOGRAPHY
Very heavy focus on themes and characteristics; hard and undiffused: black and white, light and dark (good and bad?!)
Tabloid newspaper style- sleazy, dark, gritty
Cluttered dark claustrophobic interiors framed or restricted by camera framing- no choice to be in where they are, foreshadowing, see character as a trapped animal without spelling it out
Nighttime scenes
Dutch angle, deep focus shots
Stark light, dark contrasts
Low key lighting: harder/harsh lighting- dark tones but harsh lights
Erratic movements, bleak, fatalistic overtones of despair/madness
Heightened expressionistic scenes with elements distorted/nightmarish/grotesque/exaggerated

ICONOGRAPHY
Telephones
Voice recorders
Newspapers
Dark sidewalks
Rain-drenched streets
Flashing neon signs
Fairgrounds and carnivals
City as a villain; dangerous; hostile
Border town or casino
Imagery of water and alcohol representing merging and release

GENERAL PRINCIPLES
Protagonist is out of his depth: thinks he's in control but he isn't and audience knows so
Noir- watching someone struggle and lose control
Flashbacks are indicators of his bad place
Recognizes inherent capacity for disaster- aNYTHING BAD CAN HAPPEN EVERYTHING IS BAD DISASTER IS IMMINENT
Making a choice between two bad things- lesser of two evils
Protag is always isolated: fights alone (lone wolf) yet must be part of society
Protag earns his own damnation/redemption: thinks he can control things but gets his payback???
Often ends with a sense of futility/meaninglessness

PLOT STRUCTURE
Setup:
Protag on the edge of a world with dubious values
Protag has maintained integrity and is in control of situation
Uneasily accepts status quo: Living in a world where he doesn't necessarily like but living still
Conflict: 
Protag drawn into situation for ambiguous motives (sexuality, money); paradigm model
Acts according to experience but without complete knowledge; he knows something is up but he doesn't know that he will be played (e.g.)
Opposing forces manipulate protagonist usually without him knowing
Protag's flaws emerge, goes through process of moral self discovery as hidden elements of situation are revealed; becomes vulnerable
Provoke others to take action against him; last ditch attempt to get out of situation and then antagonist turns on him and he is stuck (shift in power)
Movement builds towards inevitable catastrophe ending
Resolution:
Recognizes defeat, protag becomes aware of error and longs for a simpler time when life was less complicated
Defeat occurs due to character flaw
Basically stories about being played

Neo-noir
Crime thrillers of Don Siegal e.g. Dirty Harry (1971)
Science fiction by Ridley Scott e.g. Blade Runner (1982)
Predatory women of Adrian Lyne e.g. Fatal Attraction (1987)
Hard boiled cops of Curtis Hanson e.g. LA Confidential (1997)

CRIT A ASSESSMENT check managebac for more info due AFTER PROJECT WEEK
1k word critical analysis essay on one of the following titles
-the history and evolution of film noir (the world in which it emerged)
-an indepth study of a film noir luminary's work (well known directors)
-film noir and culture today (what kind of things are we reacting to in societY)
-film noir and hong kong cinema

CRIT B ASSESSMENT due 4TH NOVEMBER
in groups of 4 create a 6-7 minute film noir omg