Tuesday 10 January 2012

Film Noir: Camera Shots, Effects, Angles, Iconography & Conventions

Throughout the whole genre of Film Noir, there are a number of conventions that create the style and represent the darkness of it as a whole, through camera shots, angles, effects and locations.

Low Key Lighting - one of the most important effects simply because it creates the sense of the unknown, of unease, danger and suspicion that is really significant when representing the dark and depressed characters.
It's very common to see shadows that are cast by 'venetian blinds' on the character's faces and in their rooms, so it's something that directly connects us to the genre and is therefore important for us to involve in our own film to a similar effect.
Low Angle Shots - these are regularly used in these films, largely due to the fact that they make the subject of the shot appear more powerful. This is a technique used for both the 'Femme Fatale' and the male lead to interpret to the audience when they are at the heights and lows of their power during the progression of the film.
Dutch Angle Shots - These are often used in these films to portray to the audience a sense of unease or 'madness' the character is feeling psychologically. It's when the camera is tilted instead of being vertical or horizontal.
Mirror reflections - One or more characters are usually shot in the reflection of a mirror. This can signify the development of a relationship, or reflect the two common sides of a femme fatale; the one she knows and the one the protagonist (main male character) knows.

Iconography:
  • Cigarettes
  • rain (pathetic fallacy)
  • alcohol
  • guns
  • trench coats
  • usually set in bars/offices
  • gambling is commonly seen as a popular trait in film noir characters
A lot of film noir films are based on a first person perspective. This makes the audience 'take their side' but also helps us understand the dark times men went through after the war - a film is used to express their difficult emotions, rather than them perhaps confiding in a relative. A lot of the films show the main male character as very much an outcast; someone who is detached from the life they are living. This is portrayed through the selection of a first person narrative.

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