19. Notes on Film Noir

Transcultural Appropriation and Aesthetic Breakthrough of Hollywood Film Noir in Contemporary Taiwan Suspense Thriller Films: A Case Study of Who Killed Cock Robin (2017)

“…Classic film noir uses an expressionistic visual style to depict the dark side of urban society and the sinfulness of human nature. In "Notes on Film Noir" (originally published in 1972), film scholar and filmmaker Paul Schrader identified film noir as a cinematic form situated within a specific period of American film history, and sharing common motifs, tone, and atmosphere that transcend history (Schrader 1996). Schrader elaborated on five visual techniques frequently employed in film noir: (1) night-lit scenes; (2) preference for oblique and vertical lines over horizontal ones; (3) concealment of actors within a nocturnal urban tableau, often speaking with their faces obscured by shadows; (4) a preference for compositional tension over physical action; (5) a fascination with water and fog (Schrader 1996, pp.…”

Di̇ji̇talde Fi̇lm Noi̇r’i̇n İzi̇ni̇ Sürmek: “Bozkir” Ve “Çeki̇ç Ve Gül: Bi̇r Behzat Ç. Hi̇kâyesi̇” Di̇zi̇leri̇nde Kara Fi̇lm

“…Ayrıca Kara Filmler'in sınıflandırılmasında da önemli çalışmalar yapan diğer isimler ise Raymond Durgnat ve Paul Schrader'dır (Varmazi ve Erensoy, 2017, s. 183). Kara Filmler'i tarihsel açıdan ele alan Paul Schrader (1972Schrader ( , s. 11-12), 1941Schrader ( -1946 yıllarını Kara Film'in savaş dönemi olarak adlandırır ve diyalog odaklı yapımların ön plana çıktığını öne sürer. İkinci dönem savaş sonrası dönem olarak bilinir ve 1945-1949 yıllarını kapsar.…”

Remaking the Crisis of Masculinity in Hollywood Neo-Noir: The Postman Always Rings Twice and Body Hea

“…The film fully implements one of the most widespread aesthetic conclusions about film noir: the influence of German Expressionism, whose characteristic is to use visual tropes to convey oppressive atmospheres. Paul Schrader (1972) was the first critic to make that point, which has since been adopted by a large body of scholarship, including Place and Peterson's study of the noir visual style (1974), andHirsch's comprehensive study (1981). According to Schrader, subjective associations between style and mood are formed thanks to low-key lighting: "Hollywood lighting grew darker, characters more corrupt, themes more fatalistic and the tone more hopeless."…”