The term film noir was coined by two French film critics Borde and Chaumenton in 1956 to describe American detective stories mode in the 1940s.Noir films were seen as a counter-cultural movement within Hollywood at th...The term film noir was coined by two French film critics Borde and Chaumenton in 1956 to describe American detective stories mode in the 1940s.Noir films were seen as a counter-cultural movement within Hollywood at that time,and the French new wave continued this feature in the 1960s.Therefore,the term noir itself connects the Frenchness and Americanness.This paper tends to map out the film noir sensibilities in French content through unfolding the characteristics of femme fatale in two French noir films Jean-Luc Godard’s A bout de souffle(Breathless)(1960)and Jean-Jacques Beineix’s Diva(1981).展开更多
This essay argues that black and white cinema spawned a resistance to changing times that is still very present in the new generation of directors who follow classic film traditions while subverting them with consiste...This essay argues that black and white cinema spawned a resistance to changing times that is still very present in the new generation of directors who follow classic film traditions while subverting them with consistent narrative inventions.The Artist,the best picture Oscar award winner in 2012,is an example of this resistance as it pays homage to some of the greatest silent films of the first two or three decades of cinema history.“The Dark Side of the Screen”aims to underline that there is an unchanging power of the phantasmagoria so present in black and white movies,produced not only in the silent era but also in film noir through lighting effects and camera angles which characterize the work of major noir directors like Fritz Lang,Billy Wilder,and Orson Welles,who knew everything about the unutterable mysteries hidden on the dark side of the screen.展开更多
文摘The term film noir was coined by two French film critics Borde and Chaumenton in 1956 to describe American detective stories mode in the 1940s.Noir films were seen as a counter-cultural movement within Hollywood at that time,and the French new wave continued this feature in the 1960s.Therefore,the term noir itself connects the Frenchness and Americanness.This paper tends to map out the film noir sensibilities in French content through unfolding the characteristics of femme fatale in two French noir films Jean-Luc Godard’s A bout de souffle(Breathless)(1960)and Jean-Jacques Beineix’s Diva(1981).
文摘This essay argues that black and white cinema spawned a resistance to changing times that is still very present in the new generation of directors who follow classic film traditions while subverting them with consistent narrative inventions.The Artist,the best picture Oscar award winner in 2012,is an example of this resistance as it pays homage to some of the greatest silent films of the first two or three decades of cinema history.“The Dark Side of the Screen”aims to underline that there is an unchanging power of the phantasmagoria so present in black and white movies,produced not only in the silent era but also in film noir through lighting effects and camera angles which characterize the work of major noir directors like Fritz Lang,Billy Wilder,and Orson Welles,who knew everything about the unutterable mysteries hidden on the dark side of the screen.
