Answer the questions separate that Naremore.ppt is for the question 2, and others are for the 4, and if want to include the movies, here is the movies that could be include: M (Lang, 1931, 110 min.) The Maltese Falcon (Huston, 1941) This Gun For Hire (Tuttle, 1942) Double Indemnity (Wilder 1944, 107 min.) The Big Heat (Lang, 1953 110 m.) Laura (Preminger, 1944, 88 min.) Detour (Ulmer, 1945 clips ) The Killers (Siodmak, 1946,103 min.) The Asphalt Jungle (Huston, 1950, 112 min.) Night and The City (Dassin, 1952, 100 min.) Gilda (Vidor 1946) Mildred Pierce (Curtiz, ‘45) Kiss Me Deadly (Aldrich, 1955, 105 min) The Lady From Shanghai (Welles 1948, 87 min.) Chinatown (Polanski, 1974, 131 min.) Rififi (Dassin, 1954, 115 min.) Touch of Evil (Welles, 1958,111 min.) The Grifters (Frears 1990, 114 min.) Collateral (Mann, 2004 120 min.) Devil in a Blue Dress (Franklin, 1995, 102 min.) Blade Runner (Scott,1982 120 min.) The Last Seduction (Dahl, 1994 110 min.) Brick (Johnson 2005 110 min.) The Lookout (Frank 2007) Here is the questions: Answer three questions, in essay format (one to two pages each). The emphases of the essays should be on visual aspects for : question 1), on an interpretation of the writer’s argument for q.2), on an analysis of characters and narrative themes for q.3), on social themes and generic motifs for q.4).Do not recount the plot, refer concisely to events, cite at least one author. 1. 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. 2. When Naremore argues that “noir never dies” he refers to various forms of entertainment (see his reference to the twentieth century “pulp politics”), from television programs, to computer games and animation. Refer to at least one of the points he raises noting similarities and differences from the “classical” noir motifs. Discuss two examples of the above, from clips or shows seen in class and/or from your own experience as spectator. What generic codes are being replayed, subverted, or satirized? How has neo-noir allowed topics of race, gender, class, sexual identity come to the foreground? 3. Most neo-noir films seem to end with narrative solutions that comment on the difficulty of reaching the “American dream”. When the story is set in the past, nostalgia itself seems to become the main theme and provide the context for the social paralysis against which the protagonist must struggle (see for instance the clip shown in class from L.A. Confidential, with prostitutes stuck “performing” noir movie stars, or the opening of Devil in a Blue Dress, where the action is prompted by the dream of home-ownership). When the story is set in the present, often the individual is pitted against overwhelming economic, political, and social forces that keep him from rising above his condition. What makes his struggle doomed to failure? Think, for instance of The Grifters or Collateral. 4. Some of the writers whose works we have read (Erickson, Silver, etc.) mention social factors that have characterized the seventies and the subsequent decades. They see them as comparable to the ones that influenced the “classical” noir period. Do you see some of the existential motifs of neo- noir as a reflection of such social conditions? Mention at least three such factors and give examples from one neo-noir film.
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