 Two silhouetted figures in The Big Combo (1955). The film's cinematographer, John Alton, is sometimes credited as the creator of many of film noir's stylized images. | |
| Years active | Classic period: 1940s and 1950s; earlier films are often referred to as proto-noirs and later films as neo-noirs |
|---|---|
| Location | United States |
| Major figures | Humphrey Bogart Robert Mitchum Peter Lorre Robert Ryan |
| Influences | |
| Influenced | |
Film noir (/nwɑːr/; French: [film nwaʁ]) is a cinematic term used primarily to describe stylized Hollywood crime dramas, particularly those that emphasize cynical attitudes and motivations. The 1940s and 1950s are generally regarded as the "classic period" of American film noir. Film noir of this era is associated with a low-key, black-and-white visual style that has roots in German Expressionist cinematography. Many of the prototypical stories and attitudes expressed in classic noir derive from the hardboiled school of crime fiction that emerged in the United States during the Great Depression, known as noir fiction.[1]
The term film noir, French for "black film" (literal) or "dark film" (closer meaning),[2] was first applied to Hollywood films by French critic Nino Frank in 1946, but was unrecognized by most American film industry professionals of that era.[3] Frank is believed to have been inspired by the French literary publishing imprint Série noire, founded in 1945.
Cinema historians and critics defined the category retrospectively. Before the notion was widely adopted in the 1970s, many of the classic films noir[a] were referred to as "melodramas". Whether film noir qualifies as a distinct genre or whether it should be considered a filmmaking style is a matter of ongoing and heavy debate among film scholars.
Film noir encompasses a range of plots; common archetypical protagonists include a private investigator (The Big Sleep), a plainclothes police officer (The Big Heat), an aging boxer (The Set-Up), a hapless grifter (Night and the City), a law-abiding citizen lured into a life of crime (Gun Crazy), a femme fatale (Gilda) or simply a victim of circumstance (D.O.A.). Although film noir was originally associated with American productions, the term has been used to describe films from around the world. Many films released from the 1960s onward share attributes with films noir of the classical period, and often treat its conventions self-referentially. Latter-day works are typically referred to as neo-noir. The clichés of film noir have inspired parody since the mid-1940s.[4]
- ^ "Film Noir". American Cinema. Annenberg Learner. Archived from the original on April 18, 2021. Retrieved April 18, 2021.
- ^ See, e.g., Biesen (2005), p. 1; Hirsch (2001), p. 9; Lyons (2001), p. 2; Silver and Ward (1992), p. 1; Schatz (1981), p. 112. Outside the field of film noir scholarship, "dark film" is also offered on occasion; see, e.g., Block, Bruce A., The Visual Story: Seeing the Structure of Film, TV, and New Media (2001), p. 94; Klarer, Mario, An Introduction to Literary Studies (1999), p. 59.
- ^ Naremore (2008), pp. 4, 15–16, 18, 41; Ballinger and Graydon (2007), pp. 4–5, 22, 255.
- ^ Foteini Vlachou, Nandia (September 6, 2016). "Parody and the noir". I Know Where I'm Going. Archived from the original on November 27, 2020. Retrieved November 19, 2020.