engleski

Style and Philosophy of Classical Film Noir

This thesis is dealing with the analysis of classical film noir, with a special emphasis on its style and philosophy. Concerning the style, it includes both stylistic, as well as narrative elements. Visual elements primarily include black and white shots, chiaroscuro lighting, strange camera angles and asymmetrical mise-en-scene, which in turn influence the narrative of film noir. Narrative elements include characters that are either private detectives and/or criminals, who are trying to find their way and meaning in the world that is embedded in darkness. The anxiety and frustration they feel in that process is dealt with in the philosophy section of this thesis, taking into account existentialist notions, as well as those provided by hard-boiled fiction writers, that influenced not only the development of film noir, but also its establishment as a complex phenomenon. Information acquired through the already mentioned research will be applied in the analysis of the chosen films noirs, those being: The Maltese Falcon (1941, John Huston), Ministry of Fear (1944, Fritz Lang), The Killers (1946, Robert Siodmak), Night and the City (1950, Jules Dassin) and The Killing (1956, Stanley Kubrick).

film noir, style, philosophy, existentialism, hard-boiled fiction

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