But the directors who worked in film noir didn’t use that term to describe their work.
One searches in vain for the term in the interviews with some of the genre’s crucial creators—Otto Preminger, Don Siegel, Fritz Lang, Robert Aldrich, and Edgar G.
It was rather that they believed in cinema’s twofold function: as an absorbing entertainment and as a potential force for good, not through reinforcing conventional morality but through its ability to expose corruption and injustice.
They had seen at first hand the prewar struggles of European filmmakers to speak out against evil in their films, and felt that the new American crime films could represent the opportunity for a surreptitious continuation of that work within unashamedly entertainment films.—Truffaut, Godard, and company—didn’t care about at all: the politics and sociology of cinema, the cinema of social criticism.
Welles (who was also a director of film-noir classics, including “The Lady from Shanghai”) gave directors, including his venerable elders, a sense that anything was possible, even in Hollywood.
Essay Film Noir Descartes Proof For The Existence Of God Essay
The sudden weakening of studio control over production (the result of court battles) gave independent producers, many of whom were very sympathetic to artistically original directors, a much freer hand.
Ince in 1916, by John Ford in 1939, or by Clint Eastwood in 1992.
The same is true of war films, comedies, and, yes, crime movies.
The important point is to note its recurrence and the diversity with which the trope is deployed.
‘Suffering In Rhythm’ is a meditation upon this trope and the range of potential meanings and affects it is invested with, both in classic noir narratives and in ‘modern’ noir narratives which, since the 1970s, have become far more self-conscious about such tropes and conventions.