Film Noir Genre

I would like to start my writing with short definition about film noir genre. Film noir genre first was used to describe Hollywood crime dramas. It’s correct if we see the big visual influence of German expressionist movement which was started in 1910s and 1920s on film noir genre. And during that time a lot of artists in Europe were attracted to this movement to show inner feelings and psychological tensions; As even surrealism movement which it’s a kind of movement focusing on dreams and fantasies and it tries to discover the relationship between reality and dream, was influenced by Sigmund Freud’s ideas, also German expressionist movement was developed by new theories. Early film theorists such as Ricciotto Canudo (1879–1923) and Jean

I think the definition of the film noir genre was faced with some problems in definition. I just want to refer the reader to the definition of film noir by French critics Raymond Borde and Etienne Chaumeton in their 1955 book Panorama du film noir American 1941-1953 (A Panomara of American Film Noir) which they said, “We'd be oversimplifying things in calling film noir oneiric, strange, erotic, ambivalent, and cruel.” They believed that not every film noir have all five features in equal measures. One can be more dreamlike, one can be very brutal. The authors' caveats and repeated efforts at alternative definition have been echoed in subsequent scholarship: in the more than five decades since, there have been innumerable further attempts at definition, yet in the words of cinema historian Mark Bould, film noir remains an "elusive phenomenon ... always just out of reach". I mentioned one of the problems of defining film noir genre but usually film noir genre can identify itself with visual style of it. As I mentioned in my essay primary in 1940s and 1950s one of the elements of films which audience could recognize it as a noir genre was using low-key lighting. Also another visual style which usually were used in noir films was unbalanced composition. I would like also to

This new genre introduced innovations that were not available with the earlier noir films. The violence was also more potent than in earlier noir films While it is hard to draw a line between some of the noir films of the early 1960s such as Blast of Silence (1961) and Cape Fear (1962) which later was remade by Martin Scorsese in 1991 and the noirs of the late 1950s, new trends emerged in the post-classic era. The Manchurian Candidate (1962), directed by John Frankenheimer, Shock Corridor (1962), directed by Samuel Fuller, and Brainstorm (1965), directed by experienced noir character actor William Conrad, all treat the theme of mental dispossession within stylistic and tonal frameworks derived from classic film noir. The Manchurian Candidate examined the situation of American prisoners of war (POWs) during the Korean War. These incidents that occurred during the war as well as post-war incidents that ensued, functioned as an inspiration for a different "subgenre of Cold War Noir". In a different vein, films began to appear that self-consciously acknowledged the conventions of classic film noir as historical archetypes to be revived, rejected, or reimagined. These efforts typify what came to be known as neo-noir. Neo-noir films are modern way of making noir films. In the other hand, neo noir films also have elements of film noir, but with updated themes, concept, style, visual elements and tools that were absent in