003 film noir place and iconography
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The document explores the themes and iconography of film noir, focusing on recurring settings, images, and titles that convey a sense of urban entrapment and existential angst. It discusses key elements such as the significance of cityscapes, water, venetian blinds, and mirrors, which symbolize themes of truth, imprisonment, and duality. The analysis also includes various iconic images and motifs associated with the noir genre, emphasizing their psychological and narrative implications.
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003 film noir place and iconography
- 1. Noir Place and Iconography Recurring Settings and Images
- 2. What do you notice about the following titles?
- 5. And more Naked City (1948) The Street with No Name (1948) Where the Sidewalk Ends (1950) Panic in the Streets (1950) Call Northside 777 (1948) Cry of the City (1948)
- 6. (1974)
- 7. (1997)
- 8. (2001)
- 10. What might the titles say about the noir sensibility?
- 11. Lady from Shanghai (1948)
- 14. Sin City (2005)
- 16. Empty Allies
- 17. The Nightclub Out of the Past
- 19. Why set so many films in the city? What mood(s) or themes might city scenes suggest?
- 20. Noir Place The Citytall buildings, asphalt, neon signs, fire escapes, crowded streets, and subways Modern Hell The Labyrinth Imprisonment
- 21. Noir Iconography Recurring Images in Film Noir
- 24. Sin City (2005)
- 27. Venetian Blinds The Woman in the Window (1944) Kiss of Death (1947)
- 29. The Man Who Wasnt There (2001)
- 31. Why Venetian Blinds? What meanings might be suggested with them?
- 32. Why Venetian Blinds? Visually interesting Always darker inside than outside Imprisonment Creates tension Half light/half shadowwhat is truth? The Big Heat (1953)
- 33. Mirrors and Reflections Lady from Shanghai (1948)
- 34. Mirrors and Reflections Lady from Shanghai (1948)
- 35. The Woman in the Window (1945)
- 37. Mulholland Dr.
- 39. Why mirrors? What might be significant about the use of mirrors in noir? What ideas might be suggested?
- 40. Whats interesting about a mirror is that it does not show yourself as you are; it shows you your own opposite. Douglas Sirk
- 41. Prison Bars The Killing (1956)
- 42. Seven (1995)
- 43. Blade Runner
- 44. The Grifters
- 45. Smoke
- 46. Smoke
- 48. Other Iconic Noir Images Stairsdescent into Hell Fedora hat and trench coat shadows and a mask Bedposts Fire escapes Doors Pistols Shadows Clocks characters bound to the past Windows