Communications in Humanities Research

- The Open Access Proceedings Series for Conferences


Communications in Humanities Research

Vol. 18, 07 December 2023


Open Access | Article

The Transition of Film Noir into a Genre of Crime Cinema

Ouyuan Zhong * 1
1 University of Leeds

* Author to whom correspondence should be addressed.

Communications in Humanities Research, Vol. 18, 14-21
Published 07 December 2023. © 2023 The Author(s). Published by EWA Publishing
This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
Citation Ouyuan Zhong. The Transition of Film Noir into a Genre of Crime Cinema. CHR (2023) Vol. 18: 14-21. DOI: 10.54254/2753-7064/18/20231105.

Abstract

Some have underrated Film Noir due to some misconception that it is solely limited to black-and-white imagery. However, it encompasses much more than that. It supports an aesthetic and serves as a foundational pillar for crime cinema. This paper will use formal techniques such as diegesis, montage, mise-en-scène, camera angle, and camera movement to analyze two scenes from crime cinema. One example is The Naked City, a quintessential Film Noir that employs chiaroscuro lighting to accentuate the criminal narrative. Another illustrative instance is The Taking of Pelham One Two Three. The argument surrounding Film Noir and crime cinema reveals different depictions of geographical space, yet they share similarities in their representations of themes, including war trauma, masculinity, and class. The Naked City employs a straightforward approach to represent its unique landscape, effectively connecting external and internal spaces. The Taking of Pelham One Two Three uses transportation and currency symbols to establish distinct space connections. Both films, produced in the post-war era, allow for allegorical exploration of auteurs’ imagination and re-imagination through cinematic elements. These elements ambiguously craft narratives that intricately blend aesthetics and ideology. In this case, the transition of Film Noir into the realm of crime cinema influences the development of modern cinema.

Keywords

Film Noir, crime cinema, landscape, aesthetic, ideology

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Data Availability

The datasets used and/or analyzed during the current study will be available from the authors upon reasonable request.

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Volume Title
Proceedings of the 2nd International Conference on Interdisciplinary Humanities and Communication Studies
ISBN (Print)
978-1-83558-179-7
ISBN (Online)
978-1-83558-180-3
Published Date
07 December 2023
Series
Communications in Humanities Research
ISSN (Print)
2753-7064
ISSN (Online)
2753-7072
DOI
10.54254/2753-7064/18/20231105
Copyright
07 December 2023
Open Access
This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited

Copyright © 2023 EWA Publishing. Unless Otherwise Stated