Monday, January 30, 2012
Wednesday, January 25, 2012
Similar Products - Film Noir Posters
Film Noir posters are bright and colourful which attracts the attention of the audience, this colour is unusual as the actual film is always in black and white. The surname of the actors are usually bigger than their first name. The names stand out because a lot of the time people will go to see the film because of the actor that is starring in it. It is very conventional for there to be a detective and a femme fatale to be the characters shown on the poster, this gives an audience an idea on who the main characters are and what they are like.
Similar Products - Film Noir Openings
The Killers (1946)
In the first few minutes of The Killers, two men are driving a car and they pass a sign that says 'Brentwood, New Jersey'. I would like to use this element in my film noir because I think it gives a good effect. I also like the fact that the audience can only see what is shown from the lights of the car.
Crime Wave (1954)
In the opening of Crime Wave, a car is also used and I like the way that the camera follows the actor that get out of the car, I would like to use that in my film noir project too.
Touch of Evil (1958)
Touch of Evil (1958)
This opening scene shows examples of conventional shots used, for example it uses one long shot which has no editing at all. Also it is filmed at night time which is another convention of Film Noir. The camera follows a couple who travel in a car that someone has previously put a bomb in. Right at the end of the scene the bomb explodes and kills the couple in the car. In my production, I would like to use some of the shots that were used in this opening as I think it will help it to be more conventional.
Friday, January 20, 2012
Similar Products - My Team
I am working with Charley Perkins for my Film Noir production, we are working well together so far, we have decided on character ideas and a main storyline for our project.
Similar Products - Comparing Film Noir Clips
Sunset Boulevard (1950)
Joe Gillis, an unsuccessful screenplay write, escapes the finance men who are trying to reclaim his car by driving into the garage of an old mansion on Sunset Boulevard. Assumed to be someone else, he is led by Max the butler to the mansion's owner, silent film start Norma Desmond. Wishing to make a comeback, she hires him to rewrite her "Salome" script, then falls in love with him.
Touch of Evil (1958)
Mexico's chief narcotics officer, Mike Vargas, is in a border town on a quick honeymoon with his U.S. wife. Soon he must testify against Grande, a drug lord whose brother and sons are tracking him, hoping to scare his wife and back him off the case. When a car bomb kills a rich U.S. developer, Vargas embroils himself in the investigation, putting his wife in harm's way. After Vargas catches local legendary U.S. cop, Hank Quinlan, planting evidence against a Mexican national suspected in the bombing, Quinlan joins forces with the Grande family to impugn Vargas's character. Local political lackeys, a hard-edged whore, pachucos, and a nervous motel clerk also figure in the plot.
Notorious (1946)
At the end of World War II, American military intelligence drafts the alluring daughter (Bergman) of a convicted Nazi to infiltrate a band of nefarious Germans who have fled to Brazil. She is teamed with a dashing but chilly agent (Cary Grant) with whom she falls deeply in love. Because of her past, however, the rigid and judgmental agent refuses to trust her--and their relationship falls completely apart when she agrees to marry the ringleader of the Germans in order to have better access to information. The marriage touches off an intricate downward spiral of deceit and betrayal, leaving Bergman trapped in the home of an enemy. If her husband ever discovers the truth about her mission, her life will be in mortal danger. Punchy dialog animates this action-driven thriller that maintains its suspenseful drama to the very end.
Strangers on a Train (1951)
En route from Washington D.C., champion tennis player Guy Haines (Farley Granger) meets pushy playboy Bruno Anthony (Robert Walker). What begins as a chance encounter turns into a series of morbid confrontations, as Bruno manipulates his way into Guy's life. Bruno is eager to kill his father and knows Guy wants to marry a senator's daughter (Ruth Roman) but cannot get a divorce from his wife, Miriam (Laura Elliot). So Bruno suggests the men swap murders, which would leave no traceable clues or possible motives. Though Guy refuses, it will not be so easy to rid himself of the psychopathic Bruno. The film is tightly paced and disturbing from beginning to end, an effect heightened by Hitchcock's inventive camera work, including a terrifying sequence shot through a pair of eyeglasses that have been knocked to the ground.
Double Idemnity (1951)
Smooth talking insurance salesman Walter Neff meets attractive Phyllis Dietrichson when he calls to renew her husband's automobile policy. The couple are immediately drawn to each other and an affair begins. They cook up a scheme to murder Mr. Dietrichson for life insurance money with a double indemnity clause. Unfortunately, all does not go to plan...
To conclude all of these films follow most of the main conventions of a Film Noir, although some do not follow all conventions. For example, all of these films involve a love interest for the main character.
Source: http://www.listal.com/list/imdb-top-10-best-filmnoir
Joe Gillis, an unsuccessful screenplay write, escapes the finance men who are trying to reclaim his car by driving into the garage of an old mansion on Sunset Boulevard. Assumed to be someone else, he is led by Max the butler to the mansion's owner, silent film start Norma Desmond. Wishing to make a comeback, she hires him to rewrite her "Salome" script, then falls in love with him.
Touch of Evil (1958)
Mexico's chief narcotics officer, Mike Vargas, is in a border town on a quick honeymoon with his U.S. wife. Soon he must testify against Grande, a drug lord whose brother and sons are tracking him, hoping to scare his wife and back him off the case. When a car bomb kills a rich U.S. developer, Vargas embroils himself in the investigation, putting his wife in harm's way. After Vargas catches local legendary U.S. cop, Hank Quinlan, planting evidence against a Mexican national suspected in the bombing, Quinlan joins forces with the Grande family to impugn Vargas's character. Local political lackeys, a hard-edged whore, pachucos, and a nervous motel clerk also figure in the plot.
Notorious (1946)
At the end of World War II, American military intelligence drafts the alluring daughter (Bergman) of a convicted Nazi to infiltrate a band of nefarious Germans who have fled to Brazil. She is teamed with a dashing but chilly agent (Cary Grant) with whom she falls deeply in love. Because of her past, however, the rigid and judgmental agent refuses to trust her--and their relationship falls completely apart when she agrees to marry the ringleader of the Germans in order to have better access to information. The marriage touches off an intricate downward spiral of deceit and betrayal, leaving Bergman trapped in the home of an enemy. If her husband ever discovers the truth about her mission, her life will be in mortal danger. Punchy dialog animates this action-driven thriller that maintains its suspenseful drama to the very end.
Strangers on a Train (1951)
En route from Washington D.C., champion tennis player Guy Haines (Farley Granger) meets pushy playboy Bruno Anthony (Robert Walker). What begins as a chance encounter turns into a series of morbid confrontations, as Bruno manipulates his way into Guy's life. Bruno is eager to kill his father and knows Guy wants to marry a senator's daughter (Ruth Roman) but cannot get a divorce from his wife, Miriam (Laura Elliot). So Bruno suggests the men swap murders, which would leave no traceable clues or possible motives. Though Guy refuses, it will not be so easy to rid himself of the psychopathic Bruno. The film is tightly paced and disturbing from beginning to end, an effect heightened by Hitchcock's inventive camera work, including a terrifying sequence shot through a pair of eyeglasses that have been knocked to the ground.
Double Idemnity (1951)
Smooth talking insurance salesman Walter Neff meets attractive Phyllis Dietrichson when he calls to renew her husband's automobile policy. The couple are immediately drawn to each other and an affair begins. They cook up a scheme to murder Mr. Dietrichson for life insurance money with a double indemnity clause. Unfortunately, all does not go to plan...
To conclude all of these films follow most of the main conventions of a Film Noir, although some do not follow all conventions. For example, all of these films involve a love interest for the main character.
Source: http://www.listal.com/list/imdb-top-10-best-filmnoir
Tuesday, January 10, 2012
Similar Products - Film Noir Definition & Conventions
Film Noir is 'a movie that is marked by a mood of pessimism, fatalism, menace, and cynical characters; "film noir was applied by French critics to describe American thriller or detective films in the 1940s."'
Conventions:
- Black and white
- American
- Narrator
- Interesting camera angles
- Set in a city
- Film at night
- No handheld shots
- Glamorous female actresses
- Minimal lighting - creates shadows
- A detective is usually the anti-hero
- Tone should be urgent
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