Film Noir

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Film Noir
A Culture of Seductive Crime

Somewhere along a dark alley in the shattered shadowy streets of Hollywood a part of history lies in the tragically neglected culture known as “Film Noir.” An introduction similar to any number of introductions found in any Noir themed novel or film’s initial dawning. Aristocrat or plebeian does not come into account in this culture; those who are iconic to the startup have come from many different backgrounds and even belong to many different cultures. Film Noir culture is undoubtedly a culture that can share its members concurrently with indiscriminate amounts of other cultures. Film Noir is more than just pessimistic crime dramas starring cynical men and dangerous “femme fatale” siren like women. It is a style and an American culture. With the stock market crash on October 29, 1929 came the great depression. From this time leading up to WWII the current benign dramas unquestionably left more to be desired. Their lackluster presentations were turning off audiences who where seeing so much more turmoil and danger in the world around them, leaving them to find the films boring and detached from any sense of connectivity. With this came the onset of Film Noir. In “Hollywood Genres and Post-War America: Masculinity, Family and Nation in Popular Movies and Film Noir” Mike Chopra-Gant writes, “Noir is seen as more than a trend in film production; it is regarded as emblematic not only of the cinematic culture, but also as the tone of American culture generally in the period of post-war readjustment.” Although the term noir was not originally established until after WWII, it was during that time it made its biggest splash. Many would consider it to have started its splash with the 1940 film “Stranger on the Third Floor” and ending with the 1958 Orson Welle’s “A Touch of Evil”. Whether these are the exact titles it started…...

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