As a contribution to film studies, Fatalism in American Film Noir
has no clear place.
Low-key lighting often skillfully animates the static portrait, resulting in the chiaroscuro typical of film noir.
To a certain extent, Waldman's analysis applies to film noir.
Fraud and art forgery, of course, also play an important part in The Maltese Falcon (John Huston, 1941), which is usually considered to be one of the first instances of film noir.
While Wager argues that film noirs are "usually movies about strong women" (80), she locates only attrapee women in L.
However, this book successfully links a handpicked selection of film noirs to important questions of female agency, social class, and racial stereotypes.
Looking a bit like the excellent Sin City - all black and white shots that could have come directly out of a comic book - Renaissance is an animated film noir
set in Paris in 2054.
Film noirs were born in the 1940s, low-budget B-films cranked out by Hollywood studios struggling to survive the economic hard times of World War II.
If you think of film noirs as movies that take a look at the darkness that exists beneath the bright, then ``L.
When the authors analyze classic film noirs, their basic argument fares better.
And while Oliver and Trigo list a more respectable 171 classic noirs that were released in the 1940s and 50s, their book still restricts its analysis to a handful of classic film noirs which loosely fit the psychoanalytic model they propose.
Foster Hirsch's Film Noir: The Dark Side of the Screen (1981) and Alain Silver and Elizabeth Ward's Film Noir: An Encyclopedic Reference to the American Style (1979) were the first book-length introductions and canonizations of classic film noir studies.
Hirsch clearly wants a workable definition of film noir and to set specific dates for what constitutes the genre.
When he eventually discusses later color film noirs, the author interestingly credits early 1970s "blaxploitation" films for experimenting with colored lights and filters "not only to heighten the atmosphere of sex and violence, but also to evoke the monochromatic tradition of high-contrast, black-and-white thrillers" (192).
Moreover, the author sees many postmodern film noirs as "philosophical noir" (203), parodic in a "loose sense" (203) but also influenced by the international art cinema.