Joaquim da Silva Fontes, Significação e Estabilidade do Género no ...

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Seventh Veil, The Ortus 1945. Prod: Sydney Box. Dir: Compton Bennett. Scr: Muriel Box and Sydney Box. Ph: Reginald H. Wyer. Cast: James Mason, Ann Todd, Herbert Lom, Hugh McDermott, Albert Lieven. (Country of origin: United Kingdom) So Evil My Love Par 1948. Prod: Hal B. Wallis. Dir: Lewis Allen. Scr: Leonard Spigelgass, from a Joseph Shearing novel. Ph: Max Green. Cast: Ray Milland, Ann Todd, Geraldine Fitzgerald, Leo G. Carroll, Raymond Huntley. (Country of origin: United Kingdom) So Long at the Fair Gainsborough 1950. Prod: Betty E. Box. Dir: Antony Darnborough and Terence Fisher. Scr: Muriel Box and Sydney Box. Ph: Reginald H. Wyer. Cast: Jean Simmons, Dirk Bogarde, David Tomlinson, Marcel Poncin, Cathleen Nesbitt. (Country of origin: United Kingdom) Strange Affair of Uncle Harry, The Univ 1945. Prod: Dir: Robert Siodmak. Scr: Thomas Joband Keith Winter. Ph: Paul Ivano. Cast: George Sanders, Geraldine Fitzgerald, Ella Raines, Sara Allgood, Moyna MacGill. (Country of origin: USA) Student of Prague, The Gotham (dba Alpha) 1913. Prod / Dir: Stellan Rye and Paul Wegener. Scr: Hanns Heinz Ewers, Henrik Galeen and Edgar Allan Poe. Ph: Guido Seeber. Cast: Paul Wegener, John Gottowt, Grete Berger, Lyda Salmonova, Lothar Korner. (Country of origin: Germany) Tiger Bay Pinewood 1959. Prod: John Hawkesworth. Dir: J. Lee Thompson. Scr: John Hawkesworth and Shelley Smith, from a Noel Calef novel. Ph: Eric Cross. Cast: John Mills, Horst Buchholz, Hayley Mills, Yvonne Mitchell, Megs Jenkins. (Country of origin: United kingdom) Two Mrs Carrolls, The WB 1947. Prod: Mark Hellinger and Jack L. Warner. Dir: Peter Godfrey. Scr: Thomas Job and Martin Vale. Ph: J. Peverell Marley. Cast: Humphrey Bogart, Barbara Stanwyck, Alexis Smith, Nigel Bruce, Ann Carter. Waxworks Neptun-Film Production 1924. Prod: Alexander Kwartiroff. Dir: Paul Leni. Scr: Henrik Galeen. Ph: Helmar Lerski. Cast: Emil Jannings, Conrad Veidt, Georg John, Werner Krauss, William Dieterle. (Country of origin: Germany) 464
Appendix II The Motion Picture Production Code General Principles 1. No picture shall be produced that will lower the moral standards of those who see it [my highlight]. Hence the sympathy of the audience should never be thrown to the side of crime, wrongdoing, evil or sin. 2. Correct standards of life, subject only to the requirements of drama and entertainment, shall be presented. 3. Law, natural or human, shall not be ridiculed, nor shall sympathy be created for its violation. Particular Applications I. Crimes Against the Law These shall never be presented in such a way as to throw sympathy with the crime as against law and justice or to inspire others with a desire for imitation. [my highlight] 1. Murder a. The technique of murder must be presented in a way that will not inspire imitation. b. Brutal killings are not to be presented in detail. c. Revenge in modern times shall not be justified. 2. Methods of Crime should not be explicitly presented. a. Theft, robbery, safe-cracking, and dynamiting of trains, mines, buildings, etc., should not be detailed in method. b. Arson must subject to the same safeguards. c. The use of firearms should be restricted to the essentials. d. Methods of smuggling should not be presented. 3. Illegal drug traffic must never be presented. 4. The use of liquor in American life, when not required by the plot or for proper characterization, will not be shown. II. Sex The sanctity of the institution of marriage and the home shall be upheld. Pictures shall not infer that low forms of sex relationship are the accepted or common thing. [my highlight] 1. Adultery, sometimes necessary plot material, must not be explicitly treated, or justified, or presented attractively. 2. Scenes of Passion a. They should not be introduced when not essential to the plot. b. Excessive and lustful kissing, lustful embraces, suggestive postures and gestures, are not to be shown. 465
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Joaquim da Silva Universidade de Av
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To Antonio, who made this possible.
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Acknowledgements This long journey
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Finally, I owe a huge debt of grati
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keywords abstract Film Noir, genre,
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2 Social and Political Influences o
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2.4 Joseph H. Lewis................
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Figure 42. Force of Evil ..........
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I. Introduction: Paving the Way for
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term that the film industry itself
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about which films themselves consti
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also, in the films’ fundamental n
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American films after the Nazi occup
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we also find a disruption of the wo
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oth in these French productions of
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Hollywood feature films but it did
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throughout this work); and c) to di
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odies, or as killers and crooks, bu
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these films was to confer on them a
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writer, director, producer, and art
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cinema does not have the power of
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Before working on The Dark Mirror,
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y taking it “from the outside.”
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and many, if not most, films would
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1.1.1 Dashiell Hammett In 1929, Das
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tough appearance, by their occupati
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Apart from “The Continental Op”
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unsettling when for example shootin
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1.1.2 Raymond Chandler Raymond Chan
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Figure 4. The Big Sleep the chaotic
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eleased to the big screen by MGM wi
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most fastidious visions of London i
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hometowns and move into bigger citi
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Double Indemnity started the trend
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has happened, but, as if hypnotized
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destructive, or used by stronger wo
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Tomorrow Goodbye (1950) into a noir
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Home (1937) - were two living proof
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which collapses the distinction bet
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Figure 10. Deadline at Dawn Alex’
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1.1.6 William Riley Burnett Another
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Figure 11. High Sierra The Asphalt
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1.1.7 Conclusions What made the det
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fiction managed to provide for a de
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escalation in illegal drinking plac
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Ben Hecht story and despite being p
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Mercy! Is this the end of Rico?”
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The third originating gangster movi
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part of the recurrent patterns of v
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protagonist of Edgar Ulmer’s Deto
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exemplify in Part III (“Space and
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1.3 The Gothic Romance 87 And trave
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titlecard when the film opens alert
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In Rebecca the beautiful, desirable
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forties. Thematically, the represen
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To complicate this matter further,
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trampled under by war and revolutio
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he says, when Expressionism ended,
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These early Expressionist films, wi
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student, Balduin (Paul Wegener hims
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(Tragedy of the Street, 1927, aka W
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plots with calculating precision. G
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perverted and neurotic sex murderer
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1.5 French Poetic Realism Poetic Re
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(Michèle Morgan), whose godfather
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strikingly atmospheric view of the
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Jean Paulhan, editor of La Nouvelle
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Julien Duvivier’s Pépé Le Moko
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the combination of lighting effects
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peculiar expressionistic lighting a
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Figure 28. Son of Frankenstein This
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Figure 29. Murders in the Rue Morgu
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alienation mixed with nuanced perfo
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2 Social and Political Influences o
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Liberal reforms soon became a spuri
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Polonsky, Jules Dassin, and Edward
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which are themselves historical eve
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Production Code Administration. Thi
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In this particular case, one can se
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Neff: Will you be here too? Phyllis
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against any possible theft of groce
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2.3 Postwar Readjustment If the moo
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In this group of films, the bleak a
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explain, these noir heroes of the f
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(Gilda, White Heat, Scarlet Street,
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seething excitations” and adds th
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Romanticism present at the very hea
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to persist and overcome difficultie
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III. Noir Thematics 1 Essential Ele
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its modernist sensibility, enabled
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Wyatt), cooks breakfast, domestic r
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structures of constituted authority
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1.2 Space and the Noir City Film no
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other people and developing a calcu
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I am the city. Hub and heart of Ame
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1.3 Trouble With Girls: The Femme F
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intelligent and powerful, if destru
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significant discussion of film noir
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Nevertheless, the message is quite
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Another example of the evolution of
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deceiving women. Like many of their
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Either as a femme fatale or an homm
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1.5 Dazed and Confused: The Voiceov
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an impersonal “you” giving the
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of war veterans who, unfolding thei
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1.6 Noir Atmospherics: Cinematograp
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John Alton’s highly stylised phot
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Figure 41. Stranger on the Third Fl
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indoctrination in the movie in the
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in the popular imagination. While t
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1.7 Sounds of the City: Jazz Soundt
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music, combines with images of patr
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Figure 45. Out of the Past Non-dieg
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ealm of near-explicit sexual metaph
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the two, affirming that “Jazz is
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City, Paramount’s Union Station a
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In my analysis of The Big Combo in
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Consequently, in the fifties, we st
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2 Noir and the Film Auteur 2.1 Aute
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noticeably the case, for example, w
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point out the fact that it is only
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elationship to the way a director t
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2.1.1 Billy Wilder Billy Wilder pla
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performance is full of understated
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Figure 54. Sunset Boulevard Wilder
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Figure 55. Ace in the Hole All of B
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2.1.2 Orson Welles He may have only
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For example, in the scene above (fi
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As Leo Braudy in The World in a Fra
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slanting compositions, and brillian
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2.1.3 Otto Preminger Austrian film
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plans, June still shows her love fo
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Figure 61. Where the Sidewalk Ends
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project my viewpoint on the audienc
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postulated as the “doctrine of si
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pouvait espérer sortir de la déno
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I am at the barber's, and a copy of
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certain community, our subjective r
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interpretant” (Stam 1992:6). Here
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The notion of “text” as a disco
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only agree that these disciplines s
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2 The Universe of Motifs and Symbol
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Andrew Sarris once wrote that “If
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exception to this rule, his movies
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independent production companies in
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Figure 66. Double Indemnity In the
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Figure 67. Scarlet Street The symbo
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contorted Expressionistic grimace,
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Figure 70. Metropolis The clock mot
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Figure 71. Strangers on a Train The
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“When I was young I wanted to be
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themselves in the projection of inn
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woman in the portrait throughout I
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scenes as the attachment is purely
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(namely The Spiral Staircase and Ou
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Chris meets by accident, is a hellc
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2.1.1.4 Conclusion All in all, ther
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Question: Scarlet Street had the sa
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an accepted and well-known screenwr
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Siodmak’s next two films for Univ
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money from Dundee. A more harrowing
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2.2.1 The Spiral Staircase (1946) a
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here increased by the unsteady blac
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Figure 83. The Spiral Staircase Thi
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Warren, making either of them the p
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2.2.1.2 The “Optical Unconscious
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camera is expressive, as it informs
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ordering” - appears to match this
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eyewitness, but at the same time, a
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Figure 87. The Spiral Staircase Bas
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While Cross implicitly acknowledges
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Figure 89. Affair in Trinidad Other
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However, much of this iconography t
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long, wooden staircase while trying
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Figure 93. The Spiral Staircase Fig
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of Nathaniel Hawthorne’s “The B
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almost part of a game, emphasising
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2.3 Jacques Tourneur Born in Paris
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a laughing audience), and broken la
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violent mishaps could have led to h
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writers like Dashiell Hammett (who,
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Chuck Tatum, a cynical, frustrated
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on, Ann, who represents his hope fo
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This kind of temporal manipulation
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ought forward by the characters of
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found Kathie: “I was glad it was
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Figure 102. Out of the Past In this
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Figure 104. The Lady from Shanghai
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Jeff: Give him time. Kathie: You ar
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Figure 106. Out of the Past The sce
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Gun Crazy, a barrage of police gunf
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2.4 Joseph H. Lewis Considered as a
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untold storied of ordinary men and
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through windows, to provide the ind
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2.4.1 The Big Combo (1955) and the
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of most noir films including The Bi
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2.4.1.1 “First is First and Secon
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In The Big Combo the unconscious tr
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It is not only in terms of narrativ
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Although the idea is not to go into
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Figure 113. Scarlet Street Neff’s
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2.4.1.2 The Big Combo and Generic T
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and knowing they are both surrounde
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As the noir movement entered the la
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V. Conclusions: 1 Genre Revisited T
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on social aspects through a dramati
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Buscombe is right: if we take a gen
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constructions that make it difficul
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Such factors have been scrutinised
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Thematically, noir films as a group
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While enforcement of the Production
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are “as often nihilistic, cynical
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which is normally not associated wi
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morality brought about by these noi
Page 429 and 430: It is within this cinematic and cri
Page 431 and 432: ____________ (1994). The Semiotic C
Page 433 and 434: ____________ (1992b). Farewell, My
Page 435 and 436: E Easthope, Antony (1993). Contempo
Page 437 and 438: Greenberg, Joel & Higham, Charles (
Page 439 and 440: James, David E. (2005). The Most Ty
Page 441 and 442: Malkiewicz, Kris (1986). Film Light
Page 443 and 444: N Naremore, James (1978). The Magic
Page 445 and 446: Polan, Dana (1986). Power and Paran
Page 447 and 448: ____________ (2006). Ava Gardner:
Page 449 and 450: Sullivan, Ellie (1986). Jacques Lac
Page 451 and 452: Wilson, Edmund (1962). Classics and
Page 453 and 454: Appendix I: Annotated Filmography T
Page 455 and 456: Beware, My Lovely RKO 1952. Prod: C
Page 457 and 458: Christmas Holiday Univ 1944. Prod:
Page 459 and 460: Dark Corner, The Fox 1946. Prod: Fr
Page 461 and 462: Framed Col 1947. Prod: Jules Schern
Page 463 and 464: House on 92 nd Street, The Fox 1945
Page 465 and 466: Killing, The UA 1956. Prod: James B
Page 467 and 468: Mildred Pierce WB 1945. Prod: Jerry
Page 469 and 470: One Way Street Univ 1950. Prod: Leo
Page 471 and 472: Repeat Performance EL 1947. Prod: A
Page 473 and 474: Stranger, The RKO 1946. Prod: S.P.
Page 475 and 476: Unsuspected, The WB 1947. Prod: Cha
Page 477 and 478: B) Other Relevant Filmography The f
Page 479: Last Laugh, The ScreenSound 1924. P
Page 483 and 484: VIII. Religion 1. No film or episod
Page 485 and 486: B. By reason of the mobility of fil
Page 487 and 488: Reasons Underlying the Particular A
Page 489 and 490: VIII. Religion The reason why minis
Page 491 and 492: 146, 152, 186, 192, 229, 250, 298,
Page 493 and 494: high-contrast, 11, 46, 172 Highway
Page 495 and 496: 350, 352, 353, 354, 356, 357, 359,
Page 497: Walsh, Raoul, 56, 57, 66, 73, 223,
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