Whether it leads to punishment and doom or redemption is not as important to the genre as the being an investigation.Such then are the components which make up the genre of film noir: a crime, a fallible protagonist, a contemporary setting, and, usually, an investigation by someone or some agency, not necessarily the protagonist.
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\n- Double Indemnity, like many other films noir, takes a naturalistic view of human nature. This is due in part to the flashback struture of the film.
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"title": "Historical dictionary of film noir", "creators": [ { "creatorType": "author", "firstName": "Andrew", "lastName": "Spicer" } ], "abstractNote": "The Historical Dictionary of Film Noir is a comprehensive guide that ranges from 1940 to present day neo-noir. 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(Naremore.p209)
\n
\n", "tags": [ { "tag": "@novo" }, { "tag": "@verificar" }, { "tag": "cenário" }, { "tag": "roteiro" } ], "relations": {}, "dateAdded": "2012-05-09T14:26:41Z", "dateModified": "2012-05-09T14:26:41Z" } }, { "key": "BSWTCM9T", "version": 1, "library": { "type": "group", "id": 71623, "name": "Film Noir", "links": { "alternate": { "href": "https://www.zotero.org/groups/film_noir", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/71623/items/BSWTCM9T", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/film_noir/items/BSWTCM9T", "type": "text/html" } }, "meta": { "createdByUser": { "id": 500401, "username": "werelegion", "name": "", "links": { "alternate": { "href": "https://www.zotero.org/werelegion", "type": "text/html" } } }, "creatorSummary": "Park", "parsedDate": "2011", "numChildren": 2 }, "data": { "key": "BSWTCM9T", "version": 1, "itemType": "book", "title": "What is film noir?", "creators": [ { "creatorType": "author", "firstName": "William", "lastName": "Park" } ], "abstractNote": "", "series": "", "seriesNumber": "", "volume": "", "numberOfVolumes": "", "edition": "", "date": "2011", "publisher": "Bucknell University Press ; Rowman & Littlefield", "place": "Lewisburg [Pa.]; Lanham, Md.", "originalDate": "", "originalPublisher": "", "originalPlace": "", "format": "", "numPages": "", "ISBN": "9781611483628 161148362X", "DOI": "", "citationKey": "", "url": "", "accessDate": "", "ISSN": "", "archive": "", "archiveLocation": "", "shortTitle": "", "language": "English", "libraryCatalog": "Open WorldCat", "callNumber": "", "rights": "", "extra": "", "tags": [], "collections": [], "relations": {}, "dateAdded": "2012-05-09T14:26:41Z", "dateModified": "2012-05-09T14:26:41Z" } }, { "key": "XPTF7QAS", "version": 1, "library": { "type": "group", "id": 71623, "name": "Film Noir", "links": { "alternate": { "href": "https://www.zotero.org/groups/film_noir", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/71623/items/XPTF7QAS", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/film_noir/items/XPTF7QAS", "type": "text/html" } }, "meta": { "createdByUser": { "id": 500401, "username": "werelegion", "name": "", "links": { "alternate": { "href": "https://www.zotero.org/werelegion", "type": "text/html" } } }, "creatorSummary": "Luhr", "parsedDate": "2012", "numChildren": 2 }, "data": { "key": "XPTF7QAS", "version": 1, "itemType": "book", "title": "Film noir", "creators": [ { "creatorType": "author", "firstName": "William", "lastName": "Luhr" } ], "abstractNote": "\"Film noir\" refers to a particular cinematic style: a way of lighting, of positioning and moving the camera, the use of an introspective, voice-over narration, reliance on flashbacks that drive the narrative, and a choice of settings: usually a seedy, urban landscape, a world gone wrong.", "series": "", "seriesNumber": "", "volume": "", "numberOfVolumes": "", "edition": "", "date": "2012", "publisher": "Wiley-Blackwell", "place": "Chichester", "originalDate": "", "originalPublisher": "", "originalPlace": "", "format": "", "numPages": "", "ISBN": "9781405145947 1405145943 9781405145954 1405145951", "DOI": "", "citationKey": "", "url": "", "accessDate": "", "ISSN": "", "archive": "", "archiveLocation": "", "shortTitle": "", "language": "English", "libraryCatalog": "Open WorldCat", "callNumber": "", "rights": "", "extra": "", "tags": [], "collections": [], "relations": {}, "dateAdded": "2012-05-09T14:26:36Z", "dateModified": "2012-05-09T14:26:36Z" } }, { "key": "8ZQKZGSS", "version": 1, "library": { "type": "group", "id": 71623, "name": "Film Noir", "links": { "alternate": { "href": "https://www.zotero.org/groups/film_noir", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/71623/items/8ZQKZGSS", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/film_noir/items/8ZQKZGSS", "type": "text/html" }, "up": { "href": "https://api.zotero.org/groups/71623/items/XPTF7QAS", "type": "application/json" } }, "meta": { "createdByUser": { "id": 500401, "username": "werelegion", "name": "", "links": { "alternate": { "href": "https://www.zotero.org/werelegion", "type": "text/html" } } }, "numChildren": 0 }, "data": { "key": "8ZQKZGSS", "version": 1, "parentItem": "XPTF7QAS", "itemType": "note", "note": "If all the techniques or motifs associated with film noir existed before, what differs is where and how the movies used them. In the 1930s, as Vivian Sobchack points out, a nightclub was a moderne, art deco site (or \"chronotype\") of public celebration, a place where one found Ginger dancing with Fred, but in 1940s and 1950s it became a sinister place of intrigue and confusion.(Park.p72)
\n
\n", "tags": [ { "tag": "@novo" }, { "tag": "Chinatown" }, { "tag": "identidade visual" }, { "tag": "pós-noir" }, { "tag": "tipografia" } ], "relations": {}, "dateAdded": "2012-05-09T14:26:36Z", "dateModified": "2012-05-09T14:26:36Z" } }, { "key": "W6XEIEWC", "version": 1, "library": { "type": "group", "id": 71623, "name": "Film Noir", "links": { "alternate": { "href": "https://www.zotero.org/groups/film_noir", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/71623/items/W6XEIEWC", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/film_noir/items/W6XEIEWC", "type": "text/html" }, "up": { "href": "https://api.zotero.org/groups/71623/items/ZG6USGXI", "type": "application/json" } }, "meta": { "createdByUser": { "id": 500401, "username": "werelegion", "name": "", "links": { "alternate": { "href": "https://www.zotero.org/werelegion", "type": "text/html" } } }, "numChildren": 0 }, "data": { "key": "W6XEIEWC", "version": 1, "parentItem": "ZG6USGXI", "itemType": "note", "note": "The logo and the credit sequence that follows it use black and white cinematography tinted with a sepia wash, recalling old sepia tone movies of the 1930s, and they employ art-deco calligraphy and iconography.(Luhr.p173)
\n
\n", "tags": [ { "tag": "ambiente" }, { "tag": "cliche" }, { "tag": "gênero" } ], "relations": {}, "dateAdded": "2012-03-08T16:16:51Z", "dateModified": "2012-03-08T16:17:27Z" } } ]While noir is often associated with an urban setting, many classic noirs take place in small towns, suburbia, rural areas, or on the open road; so setting cannot be its genre determinant, as with the Western. Similarly, while the private eye and the femme fatale are character types conventionally identified with noir, the majority of film noirs feature neither; so there is no character basis for genre designation as with the gangster film. Nor does film noir rely on anything as evident as the monstrous or supernatural elements of the horror film, the speculative leaps of the science fiction film, or the song-and-dance routines of the musical. (Ottoson (1981), pp. 2–3.)
\n