In Touch of Evil Quinlan’s grotesque body occupies the center of the film. The low angle framing and the make-up turn the character, as played by Orson Welles, into a caricature of evil. How do physical traits serve to create such characterizations in Touch of Evil and other noir films seen in class? How does framing contribute to create noir characters? Consider the body proportions, the camera angles, the juxtapositions between human figure and elements of mise-en-scene, such as the “architecture” of buildings or furniture.
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