The thriller is a broad genre of literature, film, and television. It includes numerous, often overlapping sub-genres.
Thrillers are characterized by fast pacing, frequent action, and resourceful heroes who must thwart the plans of more-powerful and better-equipped villains. Literary devices such as suspense, red herrings, and cliffhangers are used extensively.
Characteristics
Thrillers often take place wholly or partly in exotic settings such as foreign cities, deserts, polar regions, or high seas. The heroes in most thrillers are frequently "hard men" accustomed to danger: law enforcement officers, spies, soldiers, seamen, or aviators. However, they may also be ordinary citizens drawn into danger by accident. While such heroes have traditionally been men, women have become increasingly common.
Thrillers often overlap with mystery stories, but are distinguished by the structure of their plots. In a thriller, the hero must thwart the plans of an enemy, rather than uncover a crime that has already happened. Thrillers also occur on a much grander scale: the crimes that must be prevented are serial or mass murder, terrorism, assassination, or the overthrow of governments. Jeopardy and violent confrontations are standard plot elements. While a mystery climaxes when the mystery is solved; a thriller climaxes when the hero finally defeats the villain, saving his own life and often the lives of others. In thrillers influenced by film noir and tragedy, the compromised hero is often killed in the process.
In recent years, when thrillers have been increasingly influenced by horror or psychological-horror exposure in pop culture, an ominous or monstrous element has become common to heighten tension. The monster could be anything, even an inferior physical force made superior only by their intellect ( as in the Saw movies), a supernatural entity (Dracula, Christine books, The Amityville Horror, The Ring films), aliens (H. P. Lovecraft's Cthulhu mythos books), serial killers (Halloween film series, Friday the 13th, The Texas Chainsaw Massacre films and Psycho), or even microbes or chemical agents (Cabin Fever, Richard Matheson's The Last Man On Earth, 28 days later). Some authors have made their mark by incorporating all of these elements (Richard Laymon, F. Paul Wilson) throughout their bibliographies.
Similar distinctions separate the thriller from other overlapping genres: adventure, spy, legal, war, maritime fiction, and so on. Thrillers are defined not by their subject matter but by their approach to it. Many thrillers involve spies and espionage, but not all spy stories are thrillers. The spy novels of John LeCarre, for example, explicitly and intentionally reject the conventions of the thriller. Conversely, many thrillers cross over to genres that traditionally have had few or no thriller elements. Alistair MacLean, Hammond Innes, and Brian Callison are best known for their thrillers, but are also accomplished writers of man-against-nature sea stories.
Thrillers may be defined by the primary mood that they exhibit: excitement. In short, if it thrills, it is a thriller.
Sub-genres
The thriller genre can include the following sub-genres, which may include elements of other genres:
Spy thrillers (also a subgenre of spy fiction), in which the hero is generally a government agent who must take violent action against agents of a rival government or (in recent years) terrorists. Examples include From Russia with Love by Ian Fleming, The Bourne Identity by Robert Ludlum, and television series such as Mission: Impossible and 24 (the second demonstrating a break from the norm by Robert Ludlum, as it is as much a psychological thriller as a spy thriller.)
Political thrillers, in which the hero must ensure the stability of the government that employs him. The success of Seven Days in May (1962) by Fletcher Knebel and The Day of the Jackal (1971) by Frederick Forsyth established this subgenre.
Military Thrillers, in which the hero is typically a uniformed military officer operating behind enemy lines alone or as part of a small team of specialists. The Guns of Navarone by Alistair MacLean is a well-known example of the type, as are films such as Solo Voyage, The Dirty Dozen and Rambo.
Conspiracy thrillers, in which the hero confronts a large, powerful group of enemies whose true extent only he recognizes. The work of Robert Ludlum, for example The Chancellor Manuscript and The Aquitence Progression falls into this category, as do films such as Three Days of the Condor and JFK.
Technothrillers, in which technology is prominently described and made essential to the reader's understanding of the plot. Michael Crichton and Tom Clancy are both considered to be the "Fathers of the Technothriller."
Echo Thrillers, an emerging sub-genre in which the protagonist must avert or rectify an environmental or biological calamity - often in addition to dealing with the usual types of enemies or obstacles present in other thriller genres. This environmental component often forms a central message or theme of the story. Examples include Nicholas Evans' The Loop, C. George Muller's Echoes in the Blue, and Wilbur Smith's Elephant Song, all of which highlight real-life environmental issues.
Erotic Thrillers, Film sub-genre which consists of erotica and thriller and had become popular since the 1980s and the rise of VCR market penetration. The genre includes such films as Basic Instinct, Fatal Attraction, Looking for Mr. Goodbar and In the Cut.
Legal Thrillers, in which the lawyer-heroes confront enemies outside, as well as inside, the courtroom and are in danger of losing not only their cases but their lives. The Pelican Brief by John Grisham is a well known example of the type.
Forensic Thrillers , in which the heroes are forensic experts whose involvement with an unsolved crime puts their lives at risk. Balefire by Ken Godderd and Red Dragon by Thomas Harris are examples, as is Harris's later The Silence of the Lambs.
Psychological thrillers, in which (until the often violent resolution) conflict between the main characters is mental and emotional rather than physical. The Alfred Hitchcock films Suspicion, Shadow of a Doubt, and Strangers on a Train and David Lynch's bizarre and influential Blue Velvet are notable examples of the type, as is The Sixth Sense by M. Night Shyamalan and The Talented Mr. Ripley by Patricia Highsmith.
Horror thriller, in which conflict between the main characters is mental, emotional, and physical. Two recent examples of this include the Saw series of films and the Danny Boyle film 28 Days Later. What sets the Horror Thriller apart is the main element of fear throughout the story. The main characters are not only up against a superior force in the form of a monster or monsters, but they are or will soon become the victims themselves and directly feel the fear that comes by attracting the monster's attention.
Disaster thriller, in which the main conflict is due to some sort of natural or artificial disaster such as floods, earthquakes, hurricanes, volcanoes etc., or nuclear disasters as an artificial disaster. Examples include Stormy Weather by Carl Hiaasen, Earthquake (1974 film),Tremor by Winston Graham.
Romantic thrillers
Supernatural thrillers, in which the conflict is between main characters, usually one of which has supernatural powers. Carrie by Stephen King and Unbreakable by M. Night Shyamalan are notable examples of this genre. This type of thriller combines tension of the regular thriller with such basic horror oriented ingredients as ghosts, the occult and psychic phenomenon, the supernatural thriller combines these with a frightening but often restrained film. They also generally eschew the more graphic elements of the horror film in favor of sustaining a mood of menace and unpredictability, supernatural thrillers often find the protagonists either battling a malevolent paranormal force or trapped in a situation seemingly influenced or controlled by an otherworldly entity beyond their comprehension.
Action thrillers, which often feature a race against the clock, lots of violence and an obvious antagonist. These films usually contain a large amount of guns, explosions, and large elaborate set pieces for the action to take place. These films often have elements of mystery films and crime films, but these elements take a backseat to action.
Crime thrillers are a hybrid type of both crime films and thrillers that offer a suspenseful account of a successful or failed crime or crimes. These films often focus on the criminal(s) rather than a policeman. Crime thrillers usually emphasize action over psychological aspects. Central topics of these films include murders, robberies, chases, shootouts and double-crosses are central ingredients. Some examples include The Killing, Seven, Reservoir Dogs, and The Asphalt Jungle.
Most thrillers are formed in some combination of the above, with horror, conspiracy and psychological tricks used most commonly to heighten tension.
Srivenkat Bulemoni
Saturday, September 29, 2007
Mystery film
Mystery film is a sub-genre of the more general category of crime film. It focuses on the efforts of the Detective, private investigator or amateur sleuth to solve the mysterious circumstances of a crime by means of clues, investigation, and clever deduction.
The successful mystery film adheres to one of two story types, known as Open and Closed. The Closed mystery conceals the identity of the perpetrator until late in the story, adding an element of suspense during the apprehension of the suspect, as the audience is never quite sure who it is. The Open mystery, in contrast, reveals the identity of the perpetrator at the top of the story, showcasing the "perfect crime" which the audience then watches the protagonist unravel, usually at the very end of the story, akin to the unveiling scenes in the Closed style.
Suspense is often maintained as an important plot element. This can be done through the use of the sound track, camera angles, heavy shadows, and surprising plot twists. Alfred Hitchcock used all of these techniques, but would sometimes allow the audience in on a pending threat then draw out the moment for dramatic effect.
Mystery novels have proven to be a good medium for translation into film. The sleuth often forms a strong leading character, and the plots can include elements of drama, suspense, character development, uncertainty and surprise twists. The locales of the mystery tale are often of a mundane variety, requiring little in the way of expensive special effects. Successful mystery writers can produce a series of books based on the same sleuth character, providing rich material for sequels.
Until at least the 1980s, women in mystery films have often served a dual role, providing a relationship with the detective and frequently playing the part of woman-in-peril. The women in these films are often resourceful individuals, being self-reliant, determined and as often duplicitous. They can provide the triggers for the events that follow, or serve as an element of suspense as helpless victims.
Srivenkat Bulemoni
The successful mystery film adheres to one of two story types, known as Open and Closed. The Closed mystery conceals the identity of the perpetrator until late in the story, adding an element of suspense during the apprehension of the suspect, as the audience is never quite sure who it is. The Open mystery, in contrast, reveals the identity of the perpetrator at the top of the story, showcasing the "perfect crime" which the audience then watches the protagonist unravel, usually at the very end of the story, akin to the unveiling scenes in the Closed style.
Suspense is often maintained as an important plot element. This can be done through the use of the sound track, camera angles, heavy shadows, and surprising plot twists. Alfred Hitchcock used all of these techniques, but would sometimes allow the audience in on a pending threat then draw out the moment for dramatic effect.
Mystery novels have proven to be a good medium for translation into film. The sleuth often forms a strong leading character, and the plots can include elements of drama, suspense, character development, uncertainty and surprise twists. The locales of the mystery tale are often of a mundane variety, requiring little in the way of expensive special effects. Successful mystery writers can produce a series of books based on the same sleuth character, providing rich material for sequels.
Until at least the 1980s, women in mystery films have often served a dual role, providing a relationship with the detective and frequently playing the part of woman-in-peril. The women in these films are often resourceful individuals, being self-reliant, determined and as often duplicitous. They can provide the triggers for the events that follow, or serve as an element of suspense as helpless victims.
Srivenkat Bulemoni
Horror film
Horror films are films of the horror genre that are designed to elicit fright, fear, terror, disgust or horror from viewers. In horror film plots, evil forces, events, or characters, sometimes of supernatural origin, intrude into the everyday world. Horror film characters include vampires, zombies, monsters, serial killers, and a range of other fear-inspiring characters. Early horror films often drew inspiration from characters and stories from classic literature, such as Dracula, Frankenstein, The Mummy, The Wolf Man, The Phantom of the Opera and Dr. Jekyll and Mr. Hyde. Later horror films, in contrast, often drew inspiration from the insecurities of life since World War Two, giving rise to the three distinct, but related, subgenres of the horror-of-personality film, the horror-of-Armageddon film, and the horror-of-the-demonic film. The last subgenre may be seen as a modernized transition from the earlier horror films, expanding on the earlier emphasis on supernatural agents that bring horror to the world.
Horror films have been criticized for their graphic violence and dismissed as low budget B-movies and exploitation films. Nonetheless, some major studios and respected directors have made forays into the genre, and more serious critics have analyzed horror films through the prisms of genre theory and the auteur theory. Some horror films incorporate elements of other genres such as science fiction, fantasy, mockumentary, black comedy, and thrillers.
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Horror films have been criticized for their graphic violence and dismissed as low budget B-movies and exploitation films. Nonetheless, some major studios and respected directors have made forays into the genre, and more serious critics have analyzed horror films through the prisms of genre theory and the auteur theory. Some horror films incorporate elements of other genres such as science fiction, fantasy, mockumentary, black comedy, and thrillers.
Srivenkat Bulemoni
Fantasy film
Fantasy films are films with fantastic themes, usually involving magic, supernatural events, make-believe creatures, or exotic fantasy worlds. The genre is considered to be distinct from science fiction film and horror film, although the genres do overlap.
Genre
The boundaries of the fantasy literary genre are not well-defined, and the same is therefore true for the film genre as well. Categorizing a movie as fantasy may thus require an examination of the themes, narrative approach and other structural elements of the film.
For example, much about the Star Wars saga suggests fantasy, yet it has the feel of science fiction, whereas much about Time Bandits (1981) suggests science fiction, yet it has the feel of fantasy. Some film critics borrow the literary term Science Fantasy to describe such hybrids of the two genres.
Animated films featuring fantastic elements are not always classified as fantasy, particularly when they are intended for children. Bambi, for example, is not fantasy, nor is 1995's Toy Story, though the latter is probably closer to fantasy than the former. The Secret of NIMH from 1982, however, may be considered to be a fantasy film because there is actual magic involved.
Other children's movies, such as Walt Disney's 1937 classic Snow White and the Seven Dwarfs are also difficult to categorize. Snow White features a medieval setting, dwarven characters, the use of sorcery, and other tropes common to fantasy. Yet many fans of the genre do not believe such movies qualify as fantasy, placing them in instead in a separate fairy tale genre.
Superhero films also fulfill the requirements of the fantasy or science fiction genres but are often considered to be a separate genre. Some critics, however, classify superhero literature and film as a subgenre of fantasy (Superhero Fantasy) rather than as an entirely separate category.
Films that rely on magic primarily as a gimmick, such the 1976 film Freaky Friday and its 2003 re-make in which a mother and daughter magically switch bodies, may technically qualify as fantasy but are nevertheless not generally considered part of the genre.
Surrealist film also describes the fantastic, but it dispenses with genre narrative conventions and is usually thought of as a separate category. Finally, many Martial arts films feature medieval settings and incorporate elements of the fantastic (see for example Crouching Tiger, Hidden Dragon), but fans of such films do not agree if they should also be considered examples of the fantasy genre.
Subgenres in fantasy
Several sub-categories of fantasy films can be identified, although the delineations between these subgenres, much as in fantasy literature, are somewhat fluid.
The most common fantasy subgenres depicted in movies are High Fantasy and Sword and Sorcery. Both categories typically employ quasi-medieval settings, wizards, magical creatures and other elements commonly associated with fantasy stories.
High Fantasy films tend to feature a more richly developed fantasy world, and may also be more character-oriented or thematically complex. Often, they feature a hero of humble origins and a clear distinction between good and evil set against each other in an epic struggle. Many scholars cite J. R. R. Tolkien's The Lord of the Rings novel as the prototypical modern example of High Fantasy in literature, and the recent Peter Jackson film adaptation of the books is a good example of the High Fantasy subgenre on the silver screen.
Sword and Sorcery movies tend to be more plot-driven than high fantasy and focus heavily on action sequences, often pitting a physically powerful but unsophisticated warrior against an evil wizard or other supernaturally-endowed enemy. Although Sword and Sorcery films sometimes describe an epic battle between good and evil similar to those found in many High Fantasy movies, they may alternately present the hero as having more immediate motivations, such as the need to protect a vulnerable maiden or village, or even being driven by the desire for vengeance.
The 1982 film adaptation of Robert E. Howard's Conan the Barbarian, for example, is a personal (non-epic) story concerning the hero's quest for revenge and his efforts to thwart a single megalomaniac -- while saving a beautiful princess in the process. Some critics refer to such films by the term Sword and Sandal rather than Sword and Sorcery, although others would maintain that the Sword and Sandal label should be reserved only for the subset of fantasy films set in ancient times on the planet Earth, and still others would broaden the term to encompass films that have no fantastic elements whatsoever. To some, the term Sword and Sandal has pejorative connotations, designating a film with a low-quality script, bad acting and poor production values.
Another important sub-genre of fantasy films that has become more popular in recent years is Contemporary Fantasy. Such films feature magical effects or supernatural occurrences happening in the "real" world of today. The most prominent example in the early 21st century is the Harry Potter series of films adapted from the novels of J. K. Rowling.
Fantasy films set in the afterlife, called Bangsian Fantasy, are less common, although films such as the 1991 Albert Brooks comedy Defending Your Life would likely qualify. Other uncommon subgenres include Historical Fantasy and Romantic Fantasy, although 2003's Pirates of the Caribbean: The Curse of the Black Pearl successfully incorporated elements of both.
As noted above, superhero movies and fairy tale films might each be considered subgenres of fantasy films, although most would classify them as altogether separate movie genres.
Fantasy movies and the film industry
As a cinematic genre, fantasy has traditionally not been regarded as highly as the related genre of science fiction film. Undoubtedly, the fact that until recently fantasy films often suffered from the "Sword and Sandal" afflictions of inferior production values, over-the-top acting and decidedly poor special effects was a significant factor in fantasy film's low regard. Even 1981's Raiders of the Lost Ark, which did much to improve the genre's reputation in public as well critical circles, was still derided in some quarters because of its comic book-like action sequences and tongue in cheek comedy.
Since the late 1990s, however, the genre has gained new respectability, driven principally by the successful adaptations of J.R.R. Tolkien's The Lord of the Rings and J.K. Rowling's Harry Potter series. Jackson's The Lord of the Rings trilogy is particularly notable due to its ambitious scope, serious tone and thematic complexity. These pictures achieved phenomenal commercial and critical success, and the third installment of the trilogy became the first fantasy film ever to win the Academy Award for Best Picture.
Following the success of these ventures, Hollywood studios have greenlighted additional big-budget productions in the genre. These have included successful adaptations of the first book in C. S. Lewis' The Chronicles of Narnia series and the teen novel Eragon, as well as an upcoming adaptation of Susan Cooper's The Dark Is Rising.
Fantasy movies in recent years, such as the Lord of the Rings films, 2005's Narnia and 2006's Eragon adaptations, have most often been released in November and December. This is in contrast to science fiction films, which are often released during the northern hemisphere summer (June - August). The latter two installments of the Pirates of the Caribbean fantasy films, however, were released in July 2006 and May 2007 respectively, and the latest release in the Harry Potter series was released in July, 2007. The huge commercial success of these pictures may indicate a change in Hollywood's approach to big-budget fantasy film releases.
Srivenkat Bulemoni
Genre
The boundaries of the fantasy literary genre are not well-defined, and the same is therefore true for the film genre as well. Categorizing a movie as fantasy may thus require an examination of the themes, narrative approach and other structural elements of the film.
For example, much about the Star Wars saga suggests fantasy, yet it has the feel of science fiction, whereas much about Time Bandits (1981) suggests science fiction, yet it has the feel of fantasy. Some film critics borrow the literary term Science Fantasy to describe such hybrids of the two genres.
Animated films featuring fantastic elements are not always classified as fantasy, particularly when they are intended for children. Bambi, for example, is not fantasy, nor is 1995's Toy Story, though the latter is probably closer to fantasy than the former. The Secret of NIMH from 1982, however, may be considered to be a fantasy film because there is actual magic involved.
Other children's movies, such as Walt Disney's 1937 classic Snow White and the Seven Dwarfs are also difficult to categorize. Snow White features a medieval setting, dwarven characters, the use of sorcery, and other tropes common to fantasy. Yet many fans of the genre do not believe such movies qualify as fantasy, placing them in instead in a separate fairy tale genre.
Superhero films also fulfill the requirements of the fantasy or science fiction genres but are often considered to be a separate genre. Some critics, however, classify superhero literature and film as a subgenre of fantasy (Superhero Fantasy) rather than as an entirely separate category.
Films that rely on magic primarily as a gimmick, such the 1976 film Freaky Friday and its 2003 re-make in which a mother and daughter magically switch bodies, may technically qualify as fantasy but are nevertheless not generally considered part of the genre.
Surrealist film also describes the fantastic, but it dispenses with genre narrative conventions and is usually thought of as a separate category. Finally, many Martial arts films feature medieval settings and incorporate elements of the fantastic (see for example Crouching Tiger, Hidden Dragon), but fans of such films do not agree if they should also be considered examples of the fantasy genre.
Subgenres in fantasy
Several sub-categories of fantasy films can be identified, although the delineations between these subgenres, much as in fantasy literature, are somewhat fluid.
The most common fantasy subgenres depicted in movies are High Fantasy and Sword and Sorcery. Both categories typically employ quasi-medieval settings, wizards, magical creatures and other elements commonly associated with fantasy stories.
High Fantasy films tend to feature a more richly developed fantasy world, and may also be more character-oriented or thematically complex. Often, they feature a hero of humble origins and a clear distinction between good and evil set against each other in an epic struggle. Many scholars cite J. R. R. Tolkien's The Lord of the Rings novel as the prototypical modern example of High Fantasy in literature, and the recent Peter Jackson film adaptation of the books is a good example of the High Fantasy subgenre on the silver screen.
Sword and Sorcery movies tend to be more plot-driven than high fantasy and focus heavily on action sequences, often pitting a physically powerful but unsophisticated warrior against an evil wizard or other supernaturally-endowed enemy. Although Sword and Sorcery films sometimes describe an epic battle between good and evil similar to those found in many High Fantasy movies, they may alternately present the hero as having more immediate motivations, such as the need to protect a vulnerable maiden or village, or even being driven by the desire for vengeance.
The 1982 film adaptation of Robert E. Howard's Conan the Barbarian, for example, is a personal (non-epic) story concerning the hero's quest for revenge and his efforts to thwart a single megalomaniac -- while saving a beautiful princess in the process. Some critics refer to such films by the term Sword and Sandal rather than Sword and Sorcery, although others would maintain that the Sword and Sandal label should be reserved only for the subset of fantasy films set in ancient times on the planet Earth, and still others would broaden the term to encompass films that have no fantastic elements whatsoever. To some, the term Sword and Sandal has pejorative connotations, designating a film with a low-quality script, bad acting and poor production values.
Another important sub-genre of fantasy films that has become more popular in recent years is Contemporary Fantasy. Such films feature magical effects or supernatural occurrences happening in the "real" world of today. The most prominent example in the early 21st century is the Harry Potter series of films adapted from the novels of J. K. Rowling.
Fantasy films set in the afterlife, called Bangsian Fantasy, are less common, although films such as the 1991 Albert Brooks comedy Defending Your Life would likely qualify. Other uncommon subgenres include Historical Fantasy and Romantic Fantasy, although 2003's Pirates of the Caribbean: The Curse of the Black Pearl successfully incorporated elements of both.
As noted above, superhero movies and fairy tale films might each be considered subgenres of fantasy films, although most would classify them as altogether separate movie genres.
Fantasy movies and the film industry
As a cinematic genre, fantasy has traditionally not been regarded as highly as the related genre of science fiction film. Undoubtedly, the fact that until recently fantasy films often suffered from the "Sword and Sandal" afflictions of inferior production values, over-the-top acting and decidedly poor special effects was a significant factor in fantasy film's low regard. Even 1981's Raiders of the Lost Ark, which did much to improve the genre's reputation in public as well critical circles, was still derided in some quarters because of its comic book-like action sequences and tongue in cheek comedy.
Since the late 1990s, however, the genre has gained new respectability, driven principally by the successful adaptations of J.R.R. Tolkien's The Lord of the Rings and J.K. Rowling's Harry Potter series. Jackson's The Lord of the Rings trilogy is particularly notable due to its ambitious scope, serious tone and thematic complexity. These pictures achieved phenomenal commercial and critical success, and the third installment of the trilogy became the first fantasy film ever to win the Academy Award for Best Picture.
Following the success of these ventures, Hollywood studios have greenlighted additional big-budget productions in the genre. These have included successful adaptations of the first book in C. S. Lewis' The Chronicles of Narnia series and the teen novel Eragon, as well as an upcoming adaptation of Susan Cooper's The Dark Is Rising.
Fantasy movies in recent years, such as the Lord of the Rings films, 2005's Narnia and 2006's Eragon adaptations, have most often been released in November and December. This is in contrast to science fiction films, which are often released during the northern hemisphere summer (June - August). The latter two installments of the Pirates of the Caribbean fantasy films, however, were released in July 2006 and May 2007 respectively, and the latest release in the Harry Potter series was released in July, 2007. The huge commercial success of these pictures may indicate a change in Hollywood's approach to big-budget fantasy film releases.
Srivenkat Bulemoni
Drama in films or Drama film
A drama film is a film that depends mostly on in-depth character development, interaction, and highly emotional themes. In a good drama film, the audience are able to experience what other characters are feeling and identify with someone.
This genre could be especially useful by challenging the ignorance from stereotypes or any other overly simplistic generalizations by bringing it down to a more personal and complex level. As well, such movies could also be therapeutic by showing how characters cope with their problems, challenges, or issues, and to the extent the viewer can identify with the characters with his or her own world.
This film genre can be contrasted with an action film which relies on fast-paced action and develops characters sparsely.
Sub-genres
Dramatic Films include a very large spectrum of films. Because of the large number of drama films these movies have been sub-categorized:
War drama - Character development set in War theme.
Legal drama (Courtroom drama) - Character development in fictional court cases.
Erotic drama - Character development focused on sexuality and sexual encounters.
Sports drama - Character development based on sports events.
Crime drama - Character development based on themes such as the Police or the Mafia.
Historical drama - Films which focus on historical pasts.
Biography film - Films which focus on true stories of real people.
All films genres can include dramatic elements, such as comedies, action films, and horror movies, but typically films considered drama films focus mainly on the drama of the main issue.
Early films
From the silent era to the 1950’s Drama’s were tools to teach the audience. Films like The Grapes of Wrath (1940) show the effects of the depression. Citizen Kane (1941) was said by Orson Welles to not be a biography of William Randolph Hearst, but a composite of many people from that era.
In the 1950s, began a rise in well-known dramatic actors. Glenn Ford, James Dean, Bette Davis, and Marilyn Monroe were notable dramatic actors. Dramatic Films focused on character relationships and development. All About Eve (1950) focused on women, and their relationship with men. Rebel Without a Cause (1955) showcased teenage angst. Films like 12 Angry Men (1957) and Anatomy of a Murder (1959) show the inner workings of a courtroom. The 1950s was the debut of Akira Kurosawa, and films such as Rashomon (1950) and Seven Samurai (1954).
The 1960s brought politically driven drama’s focusing on war, such as Judgment at Nuremberg (1961), and The Manchurian Candidate (1962). Sports dramas became inspiration such as The Hustler (1961) and Downhill Racer (1969).
During the 1970s modern dramatic directors made some of their first films. Francis Ford Coppola directed The Godfather (1972). Martin Scorsese directed Taxi Driver (1976), Mean Streets (1973), and musical drama New York, New York (1977). Sylvester Stallone created one of the most successful sports drama franchises Rocky (1976) and also directed the sequel Rocky II (1979). Also in sports drama was films focused on the struggle of athletes such as Brion’s song(1970), and The Longest Yard (1974). War films, and specifically WWII films were produced, giving the most realistic adaptation of the war seen in film at that time. Tora! Tora! Tora! (1970), Patton (1970), and Apocalypse Now (1979) all show the trials and hardships of war, are still considered classic war films.
In the 1980s dramatic film put emphasis on highly emotional themes. Do the Right Thing (1989),Spike lee’s debut film, and The Color Purple (1985) were full character studies of African American culture and history. War drama’s again played a big part as Platoon (1986) showed the horrors of Vietnam. Das Boot (1981) focused on the German viewpoint of WWII. Drama, with a science fiction edge was a theme when Steven Spielberg directed E.T. the Extra-Terrestrial (1982), and Ridley Scott directed Blade Runner (1982).
During the 1990’s to Drama was put into epic proportion when films like Goodfellas (1990) came out. The Shawshank Redemption (1994) had strong themes of hope, as did Schindler’s List (1993). Dramas also took a turn with thrillers with, Fight Club (1999), American Beauty (1999), and Leon (1994). Race relationships were a theme in American History X (1998), and the AIDs epidemic, and discrimination was focus of Philadelphia (1993). Comedy-drama was featured with films like Jerry Maguire (1996) and Barton Fink (1991).
In the 2000s, biopics such as Ali (2001), Frida (2002), Ray (2004), and Walk the Line (2005) have become popular among film makers, particularly those seeking critical acclaim such as Academy Awards. Gladiator (2000) is an epic dramatic film, along with Master and Commander (2003). The Gulf War was an inspiration for dramatic films in movies like Black Hawk Down (2001) and Jarhead.
Srivenkat Bulemoni
This genre could be especially useful by challenging the ignorance from stereotypes or any other overly simplistic generalizations by bringing it down to a more personal and complex level. As well, such movies could also be therapeutic by showing how characters cope with their problems, challenges, or issues, and to the extent the viewer can identify with the characters with his or her own world.
This film genre can be contrasted with an action film which relies on fast-paced action and develops characters sparsely.
Sub-genres
Dramatic Films include a very large spectrum of films. Because of the large number of drama films these movies have been sub-categorized:
War drama - Character development set in War theme.
Legal drama (Courtroom drama) - Character development in fictional court cases.
Erotic drama - Character development focused on sexuality and sexual encounters.
Sports drama - Character development based on sports events.
Crime drama - Character development based on themes such as the Police or the Mafia.
Historical drama - Films which focus on historical pasts.
Biography film - Films which focus on true stories of real people.
All films genres can include dramatic elements, such as comedies, action films, and horror movies, but typically films considered drama films focus mainly on the drama of the main issue.
Early films
From the silent era to the 1950’s Drama’s were tools to teach the audience. Films like The Grapes of Wrath (1940) show the effects of the depression. Citizen Kane (1941) was said by Orson Welles to not be a biography of William Randolph Hearst, but a composite of many people from that era.
In the 1950s, began a rise in well-known dramatic actors. Glenn Ford, James Dean, Bette Davis, and Marilyn Monroe were notable dramatic actors. Dramatic Films focused on character relationships and development. All About Eve (1950) focused on women, and their relationship with men. Rebel Without a Cause (1955) showcased teenage angst. Films like 12 Angry Men (1957) and Anatomy of a Murder (1959) show the inner workings of a courtroom. The 1950s was the debut of Akira Kurosawa, and films such as Rashomon (1950) and Seven Samurai (1954).
The 1960s brought politically driven drama’s focusing on war, such as Judgment at Nuremberg (1961), and The Manchurian Candidate (1962). Sports dramas became inspiration such as The Hustler (1961) and Downhill Racer (1969).
During the 1970s modern dramatic directors made some of their first films. Francis Ford Coppola directed The Godfather (1972). Martin Scorsese directed Taxi Driver (1976), Mean Streets (1973), and musical drama New York, New York (1977). Sylvester Stallone created one of the most successful sports drama franchises Rocky (1976) and also directed the sequel Rocky II (1979). Also in sports drama was films focused on the struggle of athletes such as Brion’s song(1970), and The Longest Yard (1974). War films, and specifically WWII films were produced, giving the most realistic adaptation of the war seen in film at that time. Tora! Tora! Tora! (1970), Patton (1970), and Apocalypse Now (1979) all show the trials and hardships of war, are still considered classic war films.
In the 1980s dramatic film put emphasis on highly emotional themes. Do the Right Thing (1989),Spike lee’s debut film, and The Color Purple (1985) were full character studies of African American culture and history. War drama’s again played a big part as Platoon (1986) showed the horrors of Vietnam. Das Boot (1981) focused on the German viewpoint of WWII. Drama, with a science fiction edge was a theme when Steven Spielberg directed E.T. the Extra-Terrestrial (1982), and Ridley Scott directed Blade Runner (1982).
During the 1990’s to Drama was put into epic proportion when films like Goodfellas (1990) came out. The Shawshank Redemption (1994) had strong themes of hope, as did Schindler’s List (1993). Dramas also took a turn with thrillers with, Fight Club (1999), American Beauty (1999), and Leon (1994). Race relationships were a theme in American History X (1998), and the AIDs epidemic, and discrimination was focus of Philadelphia (1993). Comedy-drama was featured with films like Jerry Maguire (1996) and Barton Fink (1991).
In the 2000s, biopics such as Ali (2001), Frida (2002), Ray (2004), and Walk the Line (2005) have become popular among film makers, particularly those seeking critical acclaim such as Academy Awards. Gladiator (2000) is an epic dramatic film, along with Master and Commander (2003). The Gulf War was an inspiration for dramatic films in movies like Black Hawk Down (2001) and Jarhead.
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Comedy film
Comedy film is genre of film in which the main emphasis is on humor. It is one of the oldest genres in film, as some of the very first silent movies were comedies. Comedy, unlike other film genres, puts much more focus on individual stars, with many former stand-up comics transitioning to the film industry due to their popularity. While many comedic films are lighthearted stories with no intent other than to amuse, others contain political or social commentary (such as Wag the Dog and Man of the Year).
Types of Comedies
The following are various genres of comedy:
A comedy of manners film satirizes the manners and affectations of a social class, often represented by stock characters. The plot of the comedy is often concerned with an illicit love affair or some other scandal, but is generally less important than its witty dialogue. This form of comedy has a long ancestry, dating back at least as far as Much Ado about Nothing by William Shakespeare.
In a fish out of water comedy film the main character, or characters, finds himself in an alien environment and this drives most of the humor in the film. Situations can be swapping gender roles, as in Tootsie (1982); an age changing role, as in Big (1988); a freedom-loving individual fitting into a structured environment, as in Police Academy (1984); a rural backwoodsman in the big city, as in Crocodile Dundee, and so forth.
A parody or spoof film is a comedy that satirizes other film genres or classic films. Such films employ sarcasm, stereotyping, mockery of scenes from other films, and the obviousness of meaning in a character's actions. Examples of this form include Blazing Saddles (1974), Airplane! (1980), and Young Frankenstein (1974).
The anarchic comedy film uses nonsensical, stream-of-consciousness humor which often lampoons some form of authority. Films of this nature stem from a theatrical history of anarchic comedy on the stage. Well-known films of this sub-genre include Duck Soup (1933), National Lampoon's Animal House (1978) and Monty Python and the Holy Grail (1975).
The black comedy is based around normally taboo subjects, including, death, murder, suicide and war. Examples include Arsenic and Old Lace (1944), Monsieur Verdoux (1947), Kind Hearts and Coronets (1949), The Ladykillers (1955), Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), The Loved One (1965), Monty Python's The Meaning of Life (1983) and The War of the Roses (1989).
Gross-out films are a relatively recent development, and rely heavily on sexual or "toilet" humour. Example include American Pie (1999), There's Something About Mary (1998), and Dumb and Dumber (1994).
The romantic comedy sub-genre typically involves the development of a relationship between a man and a woman. The stereotyped plot line follows the "boy-gets-girl", "boy-loses-girl", "boy gets girl back again" sequence. Naturally there are innumerable variants to this plot, and much of the generally light-hearted comedy lies in the social interactions and sexual tensions between the pair. Examples of this style of film include It's a Wonderful World (1939), The Shop Around the Corner (1940), Sabrina (1954), When Harry Met Sally... (1989), Pretty Woman (1990), and Four Weddings and a Funeral (1994).
It was not uncommon for the early romantic comedy film to also be a screwball comedy film. This form of comedy film was particularly popular during the 1930s and 1940s. There is no consensus definition of this film style, and it is often loosely applied to slapstick or romantic comedy films. Typically it can include a romantic element, an interplay between people of different economic strata, quick and witty repartee, some form of role reversal, and a happy ending. Some examples of the screwball comedy are: It Happened One Night (1934), Bringing Up Baby (1938), Philadelphia Story (1940), His Girl Friday (1940), and more recently What's Up, Doc? (1972).
Sub genres
Action comedy films blend comic antics and action where the film stars combine wit and one-liners with a thrilling plot and daring stunts. The genre became a specific draw in North America in the eighties when comedians such as Eddie Murphy started taking more action oriented roles such as in 48 Hours and Beverly Hills Cop. These type of films are often buddy films, with mismatched partners such as in Midnight Run, Rush Hour and Hot Fuzz. Hong Kong action cinema also integreated into this style through slapstick martial arts films such as Shaolin Soccer, Kung Fu Hustle and the films of Jackie Chan.
Comedy horror films are types of horror films in which the usual dark themes are portrayed using a humorous approach. These films are either use goofy horror clichés such as in The Old Dark House, Young Frankenstein, Little Shop of Horrors, Haunted Mansion and Scary Movie where campy styles are favoured. Some are much more subtle and don't parody horror, such as Shaun of the Dead. Another style of comedy horror can also rely on over the top violence and gore such as in Dead Alive (1992), Evil Dead (1981), and Club Dread.
Fantasy comedy films are types of films that uses magic, supernatural and or mythological figures for comic purposes. Most fantasy comedy includes an element of parody, or satire, turning many of the fantasy conventions on their head such as the hero becoming a cowardly fool, the princess being a klutz. Examples of these films include Being John Malkovich, Night at the Museum, Groundhog Day, Click and Shrek.
Sci-fi comedy films, like most hybrid genre of comedy use the elements of science fiction films to over the top extremes and exaggerated science fiction stereotypical characters. Popular examples of these types of films include Back to the Future , Ghostbusters, Evolution, Innerspace, Galaxy Quest, Mars Attacks!, and Men in Black.
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Types of Comedies
The following are various genres of comedy:
A comedy of manners film satirizes the manners and affectations of a social class, often represented by stock characters. The plot of the comedy is often concerned with an illicit love affair or some other scandal, but is generally less important than its witty dialogue. This form of comedy has a long ancestry, dating back at least as far as Much Ado about Nothing by William Shakespeare.
In a fish out of water comedy film the main character, or characters, finds himself in an alien environment and this drives most of the humor in the film. Situations can be swapping gender roles, as in Tootsie (1982); an age changing role, as in Big (1988); a freedom-loving individual fitting into a structured environment, as in Police Academy (1984); a rural backwoodsman in the big city, as in Crocodile Dundee, and so forth.
A parody or spoof film is a comedy that satirizes other film genres or classic films. Such films employ sarcasm, stereotyping, mockery of scenes from other films, and the obviousness of meaning in a character's actions. Examples of this form include Blazing Saddles (1974), Airplane! (1980), and Young Frankenstein (1974).
The anarchic comedy film uses nonsensical, stream-of-consciousness humor which often lampoons some form of authority. Films of this nature stem from a theatrical history of anarchic comedy on the stage. Well-known films of this sub-genre include Duck Soup (1933), National Lampoon's Animal House (1978) and Monty Python and the Holy Grail (1975).
The black comedy is based around normally taboo subjects, including, death, murder, suicide and war. Examples include Arsenic and Old Lace (1944), Monsieur Verdoux (1947), Kind Hearts and Coronets (1949), The Ladykillers (1955), Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), The Loved One (1965), Monty Python's The Meaning of Life (1983) and The War of the Roses (1989).
Gross-out films are a relatively recent development, and rely heavily on sexual or "toilet" humour. Example include American Pie (1999), There's Something About Mary (1998), and Dumb and Dumber (1994).
The romantic comedy sub-genre typically involves the development of a relationship between a man and a woman. The stereotyped plot line follows the "boy-gets-girl", "boy-loses-girl", "boy gets girl back again" sequence. Naturally there are innumerable variants to this plot, and much of the generally light-hearted comedy lies in the social interactions and sexual tensions between the pair. Examples of this style of film include It's a Wonderful World (1939), The Shop Around the Corner (1940), Sabrina (1954), When Harry Met Sally... (1989), Pretty Woman (1990), and Four Weddings and a Funeral (1994).
It was not uncommon for the early romantic comedy film to also be a screwball comedy film. This form of comedy film was particularly popular during the 1930s and 1940s. There is no consensus definition of this film style, and it is often loosely applied to slapstick or romantic comedy films. Typically it can include a romantic element, an interplay between people of different economic strata, quick and witty repartee, some form of role reversal, and a happy ending. Some examples of the screwball comedy are: It Happened One Night (1934), Bringing Up Baby (1938), Philadelphia Story (1940), His Girl Friday (1940), and more recently What's Up, Doc? (1972).
Sub genres
Action comedy films blend comic antics and action where the film stars combine wit and one-liners with a thrilling plot and daring stunts. The genre became a specific draw in North America in the eighties when comedians such as Eddie Murphy started taking more action oriented roles such as in 48 Hours and Beverly Hills Cop. These type of films are often buddy films, with mismatched partners such as in Midnight Run, Rush Hour and Hot Fuzz. Hong Kong action cinema also integreated into this style through slapstick martial arts films such as Shaolin Soccer, Kung Fu Hustle and the films of Jackie Chan.
Comedy horror films are types of horror films in which the usual dark themes are portrayed using a humorous approach. These films are either use goofy horror clichés such as in The Old Dark House, Young Frankenstein, Little Shop of Horrors, Haunted Mansion and Scary Movie where campy styles are favoured. Some are much more subtle and don't parody horror, such as Shaun of the Dead. Another style of comedy horror can also rely on over the top violence and gore such as in Dead Alive (1992), Evil Dead (1981), and Club Dread.
Fantasy comedy films are types of films that uses magic, supernatural and or mythological figures for comic purposes. Most fantasy comedy includes an element of parody, or satire, turning many of the fantasy conventions on their head such as the hero becoming a cowardly fool, the princess being a klutz. Examples of these films include Being John Malkovich, Night at the Museum, Groundhog Day, Click and Shrek.
Sci-fi comedy films, like most hybrid genre of comedy use the elements of science fiction films to over the top extremes and exaggerated science fiction stereotypical characters. Popular examples of these types of films include Back to the Future , Ghostbusters, Evolution, Innerspace, Galaxy Quest, Mars Attacks!, and Men in Black.
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Adventure film
The adventure film is a film genre which has been a popular one in the history of cinema.
Although the genre is not clearly defined, adventure films are usually set in the past or sometimes in a fantasy world, and often involve swordfighting or swashbuckling. Unlike the modern action film, which often takes place in a city, with the hero battling drug cartels or terrorists, there is an element of romanticism attached to the adventure genre. Popular subjects have included: Robin Hood, Zorro, pirates or the novels of Alexandre Dumas.
The genre probably reached the peak of its popularity in Hollywood in the 1930s and 1940s, when films like Captain Blood, The Adventures of Robin Hood and The Mark of Zorro were regularly being made and a number of the biggest stars, notably Errol Flynn and Tyrone Power, become closely associated with it. At the same time, lower down the scale, Saturday morning serials were often using many of the same thematic elements as adventure films.
The genre has undergone periodic revivals since the 1950s, with figures like Robin Hood often being re-cast for a new generation. Some of these revivals have been successful, as with Robin Hood: Prince of Thieves (1991), and some less so, as with Swashbuckler\ (1976). In the 1980s the success of Steven Spielberg's Saturday Morning serial-style adventure Raiders of the Lost Ark spawned a host of imitators, most of which were unsuccessful.
There is often a degree of overlap between the adventure film and other genres. For example, Star Wars (1977) contains many adventure film as well as science fiction elements, while The Mummy (1999) combines the adventure and horror genres.
Popular adventure film concepts include:
An outlaw figure fighting for justice or battling a tyrant (as in Robin Hood or Zorro)
Pirates (as in Captain Blood or Pirates of the Caribbean)
A search for a lost city or for hidden treasure (as in King Solomon's Mines or Indiana Jones)
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Although the genre is not clearly defined, adventure films are usually set in the past or sometimes in a fantasy world, and often involve swordfighting or swashbuckling. Unlike the modern action film, which often takes place in a city, with the hero battling drug cartels or terrorists, there is an element of romanticism attached to the adventure genre. Popular subjects have included: Robin Hood, Zorro, pirates or the novels of Alexandre Dumas.
The genre probably reached the peak of its popularity in Hollywood in the 1930s and 1940s, when films like Captain Blood, The Adventures of Robin Hood and The Mark of Zorro were regularly being made and a number of the biggest stars, notably Errol Flynn and Tyrone Power, become closely associated with it. At the same time, lower down the scale, Saturday morning serials were often using many of the same thematic elements as adventure films.
The genre has undergone periodic revivals since the 1950s, with figures like Robin Hood often being re-cast for a new generation. Some of these revivals have been successful, as with Robin Hood: Prince of Thieves (1991), and some less so, as with Swashbuckler\ (1976). In the 1980s the success of Steven Spielberg's Saturday Morning serial-style adventure Raiders of the Lost Ark spawned a host of imitators, most of which were unsuccessful.
There is often a degree of overlap between the adventure film and other genres. For example, Star Wars (1977) contains many adventure film as well as science fiction elements, while The Mummy (1999) combines the adventure and horror genres.
Popular adventure film concepts include:
An outlaw figure fighting for justice or battling a tyrant (as in Robin Hood or Zorro)
Pirates (as in Captain Blood or Pirates of the Caribbean)
A search for a lost city or for hidden treasure (as in King Solomon's Mines or Indiana Jones)
Srivenkat Bulemoni
Action film
Action films are a film genre where action sequences, such as fighting, stunts, car chases or explosions, take precedence over elements like characterization or complex plotting. The action typically involves individual efforts on the part of the hero, in contrast with most war films. The genre is closely linked with the thriller and adventure film genres.
Rise of the action film
In the West, during the 1920s and 1930s, adventure films were popularised by actors such as Douglas Fairbanks and Errol Flynn, but the settings were often period ones. The phenomenal success of the James Bond series in the 1960s and 1970s, helped to popularise the concept of the modern day action film in more recent years. The early Bond films were characterised by quick cutting, car chases, fist fights and ever more elaborate action sequences. The series also established the concept of the resourceful hero, who is able to dispatch the villains with a ready one-liner.
Early American action films usually focused on maverick police officers, as in Bullitt (1968), The French Connection (1971) and Dirty Harry (1971). These were among the earliest films to present a car chase as an action set-piece. However, the action film did not become a dominant form in Hollywood until the 1980s and 1990s, when it was popularized by actors such as Arnold Schwarzenegger, Bruce Willis and Sylvester Stallone, who's film First Blood in 1982 is considered to be the beginning of the modern day action film. The 1988 film Die Hard was particularly influential on the development of the genre in the following decade. In the film, Bruce Willis plays a New York police detective who inadvertently becomes embroiled in a terrorist take-over of a Los Angeles office block. The film set a pattern for a host of imitators, like Under Siege (1992) or Air Force One (1997), which used the same formula in a different setting.
Action films tend to be expensive, requiring big budget special effects and stunt work. As such, they are regarded as mostly a Hollywood genre, although there have been a significant number of action films from Hong Kong which are primarily modern variations of the martial arts film. Because of these roots, Hong Kong action films typically center on acrobatics by the protagonist while American action films typically feature big explosions and modern technology.
Current trends
Current trends in action film include a development toward more elaborate fight scenes in Western film. This trend is influenced by the massive success of Hong Kong action cinema, both in Asia and in the west. Asian martial arts elements, such as kung-fu can now be found in numerous non-Asian action films. Now, a distinction can be made between films that lean toward physical, agile fighting, such as The Matrix, and those that lean toward other common action film conventions, like explosions and plenty of gunfire, such as Lethal Weapon, although most action movies employ elements of both.
Feminist theory
Feminist film theory has been used to analyze action movies, owing to their rare variance from a core archetype. The separation between the physical male, who controls the scene and the gaze, and the female, who is almost always the object of the gaze, is very clear in most such films. Although female characters in most action films are nothing more than objects, a prize for the winner, hostages, loving wives and the like, there has been a move towards stronger female characters such as those in works by James Cameron and Kathryn Bigelow, as well Quentin Tarantino, and a move towards "girl power"-style feminine empowerment (e.g. Charlie's Angels), in place of the traditional "damsel in distress".
Sub-genres
Action drama - Combines action set-pieces with serious themes, character insight and/or emotional power. This sub-genre can be traced back to the origins of the action film. Carol Reed's The Third Man (written by Grahame Greene) was an award-winning predecessor of this sub-genre. The French Connection series are considered an apotheosis of the sub-genre.
Buddy cop - Two mismatched cops (or some variation such as a cop and a criminal) team-up as the main protagonists. Major examples are Rush Hour, Bad Boys, 48 Hr.., Lethal Weapon, Tango & Cash, and Hot Fuzz.
Action comedy - Mixture of action and comedy usually based on mismatched partners (the standard "buddy film" formula) or unlikely setting. The action comedy sub-genre was re-vitalized with the popularity of the Lethal Weapon series of movies in the 1980s and 1990s. Bad Boys and Rush Hour serve as other examples.
Action thriller - Elements of action/adventure (car chases, shootouts, explosions) and thriller (plot twists, suspense, hero in jeopardy). Many of the James Bond series of films are icons of this popular sub-genre as too are the Lethal Weapon films and Sylvester Stallone's Nighthawks.
Caper / heist - Protagonists are carrying out robbery, either for altruistic purposes or as anti-heroes. The film You Only Live Once, based on the exploits of Bonnie and Clyde, was one of the first examples of this sub-genre. Other examples include The Italian Job, Heat, and Ocean's 11.
Die Hard - Story takes place in limited location - single building or vehicle - seized or under threat by enemy agents. This sub-genre began with the film, Die Hard, but has become popular in Hollywood movie making both because of its crowd appeal and the relative simplicity of building sets for such a constrained piece. Among the many films that have copied the Die Hard formula are Under Siege, Executive Decision, and Speed.
Science fiction action - Any of the other sub-genres of action film can be set in a science fiction setting. The Star Wars films began the modern exploration of this combination of high action content with futuristic settings in the 1970s, based in part on the serials of the 1930s and 1940s such as Flash Gordon. An explosion of science fiction action films followed in the 1980s and 1990s, including The Fifth Element, The Matrix, Demolition Man and Serenity.
Action Horror - As with science fiction action films, any sub-genre of action film can be combined with the elements of horror films to produce what has increasingly become a popular action sub-genre in its own right. Monsters, robots and many other staples of horror have been used in action films. In the 1980s, Aliens introduced movie goers to the potential of a hybrid of science fiction, action and horror which would continue to be popular to the present day.
Srivenkat Bulemoni
Rise of the action film
In the West, during the 1920s and 1930s, adventure films were popularised by actors such as Douglas Fairbanks and Errol Flynn, but the settings were often period ones. The phenomenal success of the James Bond series in the 1960s and 1970s, helped to popularise the concept of the modern day action film in more recent years. The early Bond films were characterised by quick cutting, car chases, fist fights and ever more elaborate action sequences. The series also established the concept of the resourceful hero, who is able to dispatch the villains with a ready one-liner.
Early American action films usually focused on maverick police officers, as in Bullitt (1968), The French Connection (1971) and Dirty Harry (1971). These were among the earliest films to present a car chase as an action set-piece. However, the action film did not become a dominant form in Hollywood until the 1980s and 1990s, when it was popularized by actors such as Arnold Schwarzenegger, Bruce Willis and Sylvester Stallone, who's film First Blood in 1982 is considered to be the beginning of the modern day action film. The 1988 film Die Hard was particularly influential on the development of the genre in the following decade. In the film, Bruce Willis plays a New York police detective who inadvertently becomes embroiled in a terrorist take-over of a Los Angeles office block. The film set a pattern for a host of imitators, like Under Siege (1992) or Air Force One (1997), which used the same formula in a different setting.
Action films tend to be expensive, requiring big budget special effects and stunt work. As such, they are regarded as mostly a Hollywood genre, although there have been a significant number of action films from Hong Kong which are primarily modern variations of the martial arts film. Because of these roots, Hong Kong action films typically center on acrobatics by the protagonist while American action films typically feature big explosions and modern technology.
Current trends
Current trends in action film include a development toward more elaborate fight scenes in Western film. This trend is influenced by the massive success of Hong Kong action cinema, both in Asia and in the west. Asian martial arts elements, such as kung-fu can now be found in numerous non-Asian action films. Now, a distinction can be made between films that lean toward physical, agile fighting, such as The Matrix, and those that lean toward other common action film conventions, like explosions and plenty of gunfire, such as Lethal Weapon, although most action movies employ elements of both.
Feminist theory
Feminist film theory has been used to analyze action movies, owing to their rare variance from a core archetype. The separation between the physical male, who controls the scene and the gaze, and the female, who is almost always the object of the gaze, is very clear in most such films. Although female characters in most action films are nothing more than objects, a prize for the winner, hostages, loving wives and the like, there has been a move towards stronger female characters such as those in works by James Cameron and Kathryn Bigelow, as well Quentin Tarantino, and a move towards "girl power"-style feminine empowerment (e.g. Charlie's Angels), in place of the traditional "damsel in distress".
Sub-genres
Action drama - Combines action set-pieces with serious themes, character insight and/or emotional power. This sub-genre can be traced back to the origins of the action film. Carol Reed's The Third Man (written by Grahame Greene) was an award-winning predecessor of this sub-genre. The French Connection series are considered an apotheosis of the sub-genre.
Buddy cop - Two mismatched cops (or some variation such as a cop and a criminal) team-up as the main protagonists. Major examples are Rush Hour, Bad Boys, 48 Hr.., Lethal Weapon, Tango & Cash, and Hot Fuzz.
Action comedy - Mixture of action and comedy usually based on mismatched partners (the standard "buddy film" formula) or unlikely setting. The action comedy sub-genre was re-vitalized with the popularity of the Lethal Weapon series of movies in the 1980s and 1990s. Bad Boys and Rush Hour serve as other examples.
Action thriller - Elements of action/adventure (car chases, shootouts, explosions) and thriller (plot twists, suspense, hero in jeopardy). Many of the James Bond series of films are icons of this popular sub-genre as too are the Lethal Weapon films and Sylvester Stallone's Nighthawks.
Caper / heist - Protagonists are carrying out robbery, either for altruistic purposes or as anti-heroes. The film You Only Live Once, based on the exploits of Bonnie and Clyde, was one of the first examples of this sub-genre. Other examples include The Italian Job, Heat, and Ocean's 11.
Die Hard - Story takes place in limited location - single building or vehicle - seized or under threat by enemy agents. This sub-genre began with the film, Die Hard, but has become popular in Hollywood movie making both because of its crowd appeal and the relative simplicity of building sets for such a constrained piece. Among the many films that have copied the Die Hard formula are Under Siege, Executive Decision, and Speed.
Science fiction action - Any of the other sub-genres of action film can be set in a science fiction setting. The Star Wars films began the modern exploration of this combination of high action content with futuristic settings in the 1970s, based in part on the serials of the 1930s and 1940s such as Flash Gordon. An explosion of science fiction action films followed in the 1980s and 1990s, including The Fifth Element, The Matrix, Demolition Man and Serenity.
Action Horror - As with science fiction action films, any sub-genre of action film can be combined with the elements of horror films to produce what has increasingly become a popular action sub-genre in its own right. Monsters, robots and many other staples of horror have been used in action films. In the 1980s, Aliens introduced movie goers to the potential of a hybrid of science fiction, action and horror which would continue to be popular to the present day.
Srivenkat Bulemoni
Friday, September 28, 2007
Science fiction
Science fiction (abbreviated SF or sci-fi with varying punctuation and case) is a broad genre of fiction that often involves speculations based on current or future science or technology. Science fiction is found in books, art, television, movies, games, theater, and other media.
In organizational or marketing contexts, science fiction can be synonymous with the broader definition of speculative fiction, encompassing creative works incorporating imaginative elements not found in contemporary reality; this includes fantasy, horror, and related genres.
Science fiction differs from fantasy in that, within the context of the story, its imaginary elements are largely possible within established or postulated laws of nature (though some elements in a story might still be pure imaginative speculation).
Exploring the consequences of such differences is the traditional purpose of science fiction, making it a "literature of ideas".
What is science fiction?
Definitions
Science fiction is difficult to define, as it includes a wide range of subgenres and themes. Author and editor Damon Knight summed up the difficulty by stating that "science fiction is what we point to when we say it". Vladimir Nabokov argued that were we rigorous with our definitions, Shakespeare's play The Tempest would have to be termed science fiction.
According to SF writer Robert A. Heinlein, "a handy short definition of almost all science fiction might read: realistic speculation about possible future events, based solidly on adequate knowledge of the real world, past and present, and on a thorough understanding of the nature and significance of the scientific method." Rod Serling's stated definition is "fantasy is the impossible made probable. Science Fiction is the improbable made possible."
A common saying is that SF (or hard SF) is based on the question 'What if?' That is, SF asks what the possibilities could be under a certain set of circumstances. For example, a story could explore the questions 'What if aliens visited Earth?' or 'What if humans colonised other worlds?'
Forrest J. Ackerman publicly used the term "sci-fi" at UCLA in 1954, though Robert A. Heinlein had used it in private correspondence six years earlier. As science fiction entered popular culture, writers and fans active in the field came to associate the term with low-budget, low-tech "B-movies" and with low-quality pulp science fiction. By the 1970s, critics within the field such as Terry Carr and Damon Knight were using "sci-fi" to distinguish hack-work from serious science fiction, and around 1978, Susan Wood and others introduced the pronunciation "skiffy." Peter Nicholls writes that "SF" (or "sf") is "the preferred abbreviation within the community of sf writers and readers." David Langford's monthly fanzine Ansible includes a regular section "As Others See Us" which offers numerous examples of "sci-fi" being used in a pejorative sense by people outside the genre.
Related genres and subgenres
Authors and filmmakers draw on a wide spectrum of ideas, but marketing departments and literary critics tend to separate such literary and cinematic works into different categories, or "genres", and subgenres. These are not simple pigeonholes; works can overlap into two or more commonly-defined genres, while others are beyond the generic boundaries, either outside or between categories, and the categories and genres used by mass markets and literary criticism differ considerably.
Speculative fiction, fantasy, and horror
The broader category of speculative fiction includes science fiction, fantasy, alternate histories (which may have no particular scientific or futuristic component), and even literary stories that contain fantastic elements, such as the work of Jorge Luis Borges or John Barth. For some editors, magic realism is considered to be within the broad definition of speculative fiction.
Fantasy is closely associated with science fiction, and many writers, including Robert A. Heinlein, Poul Anderson, Larry Niven, C. J. Cherryh, Jack Vance, and Lois McMaster Bujold have worked in both genres, while writers such as Anne McCaffrey and Marion Zimmer Bradley have written works that appear to blur the boundary between the two related genres. The authors' professional organization is called the Science Fiction and Fantasy Writers of America (SFWA). SF conventions routinely have programming on fantasy topics, and fantasy authors such as J. K. Rowling and J. R. R. Tolkien (in film adaptation) have won the highest honor within the science fiction field, the Hugo Award. Some works show how difficult it is to draw clear boundaries between subgenres, for example Larry Niven's The Magic Goes Away stories treat magic as just another force of nature and subject to natural laws which resemble and partially overlap those of physics.
However, most authors and readers make a distinction between fantasy and SF. In general, science fiction is the literature of things that might someday be possible, and fantasy is the literature of things that are inherently impossible. Magic and mythology are popular themes in fantasy.
It is common to see narratives described as being essentially science fiction but "with fantasy elements." The term "science fantasy" is sometimes used to describe such material.
Horror fiction is the literature of the unnatural and supernatural, with the aim of unsettling or frightening the reader, sometimes with graphic violence. Historically it has also been known as "weird fiction." It commonly deals with the nature of evil, psychological, technological, and fantastic. Undead and supernatural creatures like vampires and zombies are popular horror motifs. Classic works like Frankenstein and Dracula and the works of Edgar Allan Poe helped define the genre, and today it is one of the most popular categories of movies.
Related genres
Works in which science and technology are a dominant theme, but based on current reality, may be considered mainstream fiction. Much of the thriller genre would be included, such as the novels of Tom Clancy or Michael Crichton, or the James Bond films.
Modernist works from writers like Kurt Vonnegut, Philip K. Dick, and Stanisław Lem have focused on speculative or existential perspectives on contemporary reality and are on the borderline between SF and the mainstream.
According to Robert J. Sawyer, "Science fiction and mystery have a great deal in common. Both prize the intellectual process of puzzle solving, and both require stories to be plausible and hinge on the way things really do work." Isaac Asimov, Anthony Boucher, Walter Mosely, and other writers incorporate mystery elements in their science fiction, and vice versa.
Subgenres
Hard science fiction, or "hard SF", is characterized by rigorous attention to accurate detail in quantitative sciences, especially physics, astrophysics, and chemistry. Many accurate predictions of the future come from the Hard science fiction subgenre, but inaccurate predictions have also come from this category: Arthur C. Clarke accurately predicted geosynchronous communications satellites, but erred in his prediction of deep layers of moondust in lunar craters. Some hard SF authors have distinguished themselves as working scientists, including Robert Forward, Gregory Benford, Charles Sheffield, and Vernor Vinge. Noteworthy hard SF authors, in addition to those mentioned, include Hal Clement, Joe Haldeman, Larry Niven, Jerry Pournelle and Stephen Baxter.
"Soft" science fiction is the antithesis of hard science fiction. It may describe works based on social sciences such as psychology, economics, political science, sociology, and anthropology. Noteworthy writers in this category include Ursula K. Le Guin, Robert A. Heinlein, and Philip K. Dick. The term can describe stories focused primarily on character and emotion; SFWA Grand Master Ray Bradbury is an acknowledged master of this art. Some writers blur the boundary between hard and soft science fiction - for example Mack Reynolds's work focuses on politics but anticipated many developments in computers, including cyber-terrorism.
Another branch of speculative fiction is the utopian or dystopian story. Satirical novels with fantastic settings may be considered speculative fiction; Gulliver's Travels, The Handmaid's Tale, Nineteen Eighty-Four, and Brave New World are examples.
The Cyberpunk genre emerged in the early 1980s; the name is a portmanteau of "cybernetics" and "punk", and was first coined by author Bruce Bethke in his 1980 short story "Cyberpunk". The time frame is usually near-future and the settings are often dystopian. Common themes in cyberpunk include advances in information technology and especially the Internet (visually abstracted as cyberspace), (possibly malevolent) artificial intelligence, enhancements of mind and body using bionic prosthetics and direct brain-computer interfaces called cyberware, and post-democratic societal control where corporations have more influence than governments. Nihilism, post-modernism, and film noir techniques are common elements, and the protagonists may be disaffected or reluctant anti-heroes. Noteworthy authors in this genre are William Gibson, Bruce Sterling, Pat Cadigan, and Rudy Rucker. The 1982 film Blade Runner is commonly accepted as a definitive example of the cyberpunk visual style.
Time travel stories have antecedents in the 18th and 19th centuries, and this subgenre was popularized by H. G. Wells's novel The Time Machine. Stories of this type are complicated by logical problems such as the grandfather paradox. Time travel is a popular subject in novels, television series, and as individual episodes within more general science fiction series (for example, "The City on the Edge of Forever" in Star Trek, "Babylon Squared" in Babylon 5, and "The Banks of the Lethe" in Andromeda.
Alternate history stories are based on the premise that historical events might have turned out differently. These stories may use time travel to change the past, or may simply set a story in a universe with a different history from our own. Classics in the genre include Bring the Jubilee by Ward Moore, in which the South wins the American Civil War and The Man in the High Castle, by Philip K. Dick, in which Germany and Japan win World War II. The Sidewise Award acknowledges the best works in this subgenre; the name is taken from Murray Leinster's early story "Sidewise in Time".
Military science fiction is set in the context of conflict between national, interplanetary, or interstellar armed forces; the primary viewpoint characters are usually soldiers. Stories include detail about military technology, procedure, ritual, and history; military stories may use parallels with historical conflicts. Heinlein's Starship Troopers is an early example, along with the Dorsai novels of Gordon Dickson. Prominent military SF authors include David Drake, David Weber, Jerry Pournelle, S. M. Stirling, and Lois McMaster Bujold. Joe Haldeman's The Forever War is a critique of the genre, a Vietnam-era response to the World War II-style stories of earlier authors. Baen Books is known for cultivating military science fiction authors. Television series within this subgenre include Battlestar Galactica, Stargate SG-1 and Space: Above and Beyond.
History
As a means of understanding the world through speculation and storytelling, science fiction has antecedents back to mythology, though precursors to science fiction as literature began to emerge during the Age of Reason with the development of science itself, Voltaire's Micromégas was one of the first. Following the 18th century development of the novel as a literary form, in the early 19th century, Mary Shelley's books Frankenstein and The Last Man helped define the form of the science fiction novel; later Edgar Allan Poe wrote a story about a flight to the moon. More examples appeared throughout the 19th century. Then with the dawn of new technologies such as electricity, the telegraph, and new forms of powered transportation, writers like Jules Verne and H. G. Wells created a body of work that became popular across broad cross-sections of society. In the late 19th century the term "scientific romance" was used in Britain to describe much of this fiction.
In the early 20th century, pulp magazines helped develop a new generation of mainly American SF writers, influenced by Hugo Gernsback, the founder of Amazing Stories magazine. In the late 1930s, John W. Campbell became editor of Astounding Science Fiction, and a critical mass of new writers emerged in New York City in a group called the Futurians, including Isaac Asimov, Damon Knight, Donald A. Wollheim, Frederik Pohl, James Blish, Judith Merril, and others. Other important writers during this period included Robert A. Heinlein, Arthur C. Clarke, and A. E. Van Vogt. Campbell's tenure at Astounding is considered to be the beginning of the Golden Age of science fiction, characterized by hard SF stories celebrating scientific achievement and progress. This lasted until postwar technological advances, new magazines like Galaxy under Pohl as editor, and a new generation of writers began writing stories outside the Campbell mode.
In the 1950s, the Beat generation included speculative writers like William S. Burroughs. In the 1960s and early 1970s, writers like Frank Herbert, Samuel R. Delany, Roger Zelazny, and Harlan Ellison explored new trends, ideas, and writing styles, while a group of writers, mainly in Britain, became known as the New Wave. In the 1970s, writers like Larry Niven and Poul Anderson began to redefine hard SF. Ursula K. Le Guin and others pioneered soft science fiction.
In the 1980s, cyberpunk authors like William Gibson turned away from the traditional optimism and support for progress of traditional science fiction. Star Wars helped spark a new interest in space opera, focusing more on story and character than on scientific accuracy. C. J. Cherryh's detailed explorations of alien life and complex scientific challenges influenced a generation of writers.
Emerging themes in the 1990s included environmental issues, the implications of the global Internet and the expanding information universe, questions about biotechnology and nanotechnology, as well as a post-Cold War interest in post-scarcity societies; Neal Stephenson's The Diamond Age comprehensively explores these themes. Lois McMaster Bujold's Vorkosigan novels brought the character-driven story back into prominence. The television series Star Trek: The Next Generation began a torrent of new SF shows, of which Babylon 5 was among the most highly acclaimed in the decade. A general concern about the rapid pace of technological change crystallized around the concept of the technological singularity, popularized by Vernor Vinge's novel Marooned in Realtime and then taken up by other authors. Television shows like Buffy the Vampire Slayer and movies like The Lord of the Rings created new interest in all the speculative genres in films, television, computer games, and books. According to Alan Laughlin, the Harry Potter stories have been wildly popular among young readers, increasing literacy rates worldwide.[
Innovation
While SF has provided criticism of developing and future technologies, it also produces innovation and new technology. The discussion of this topic has occurred more in literary and sociological than in scientific forums.
Cinema and media theorist Vivian Sobchack examines the dialogue between science fiction film and the technological imagination. Technology does impact how artists portray their fictionalized subjects, but the fictional world gives back to science by broadening imagination. While more prevalent in the beginning years of science fiction with writers like Isaac Asimov, Robert A. Heinlein, and Frank Walker, new authors like Michael Crichton still find ways to make the currently impossible technologies seem so close to being realized.
This has also been notably documented in the field of nanotechnology with University of Ottawa Professor José Lopez's article "Bridging the Gaps: Science Fiction in Nanotechnology." Lopez links both theoretical premises of science fiction worlds and the operation of nanotechnologies.
Srivenkat Bulemoni
In organizational or marketing contexts, science fiction can be synonymous with the broader definition of speculative fiction, encompassing creative works incorporating imaginative elements not found in contemporary reality; this includes fantasy, horror, and related genres.
Science fiction differs from fantasy in that, within the context of the story, its imaginary elements are largely possible within established or postulated laws of nature (though some elements in a story might still be pure imaginative speculation).
Exploring the consequences of such differences is the traditional purpose of science fiction, making it a "literature of ideas".
What is science fiction?
Definitions
Science fiction is difficult to define, as it includes a wide range of subgenres and themes. Author and editor Damon Knight summed up the difficulty by stating that "science fiction is what we point to when we say it". Vladimir Nabokov argued that were we rigorous with our definitions, Shakespeare's play The Tempest would have to be termed science fiction.
According to SF writer Robert A. Heinlein, "a handy short definition of almost all science fiction might read: realistic speculation about possible future events, based solidly on adequate knowledge of the real world, past and present, and on a thorough understanding of the nature and significance of the scientific method." Rod Serling's stated definition is "fantasy is the impossible made probable. Science Fiction is the improbable made possible."
A common saying is that SF (or hard SF) is based on the question 'What if?' That is, SF asks what the possibilities could be under a certain set of circumstances. For example, a story could explore the questions 'What if aliens visited Earth?' or 'What if humans colonised other worlds?'
Forrest J. Ackerman publicly used the term "sci-fi" at UCLA in 1954, though Robert A. Heinlein had used it in private correspondence six years earlier. As science fiction entered popular culture, writers and fans active in the field came to associate the term with low-budget, low-tech "B-movies" and with low-quality pulp science fiction. By the 1970s, critics within the field such as Terry Carr and Damon Knight were using "sci-fi" to distinguish hack-work from serious science fiction, and around 1978, Susan Wood and others introduced the pronunciation "skiffy." Peter Nicholls writes that "SF" (or "sf") is "the preferred abbreviation within the community of sf writers and readers." David Langford's monthly fanzine Ansible includes a regular section "As Others See Us" which offers numerous examples of "sci-fi" being used in a pejorative sense by people outside the genre.
Related genres and subgenres
Authors and filmmakers draw on a wide spectrum of ideas, but marketing departments and literary critics tend to separate such literary and cinematic works into different categories, or "genres", and subgenres. These are not simple pigeonholes; works can overlap into two or more commonly-defined genres, while others are beyond the generic boundaries, either outside or between categories, and the categories and genres used by mass markets and literary criticism differ considerably.
Speculative fiction, fantasy, and horror
The broader category of speculative fiction includes science fiction, fantasy, alternate histories (which may have no particular scientific or futuristic component), and even literary stories that contain fantastic elements, such as the work of Jorge Luis Borges or John Barth. For some editors, magic realism is considered to be within the broad definition of speculative fiction.
Fantasy is closely associated with science fiction, and many writers, including Robert A. Heinlein, Poul Anderson, Larry Niven, C. J. Cherryh, Jack Vance, and Lois McMaster Bujold have worked in both genres, while writers such as Anne McCaffrey and Marion Zimmer Bradley have written works that appear to blur the boundary between the two related genres. The authors' professional organization is called the Science Fiction and Fantasy Writers of America (SFWA). SF conventions routinely have programming on fantasy topics, and fantasy authors such as J. K. Rowling and J. R. R. Tolkien (in film adaptation) have won the highest honor within the science fiction field, the Hugo Award. Some works show how difficult it is to draw clear boundaries between subgenres, for example Larry Niven's The Magic Goes Away stories treat magic as just another force of nature and subject to natural laws which resemble and partially overlap those of physics.
However, most authors and readers make a distinction between fantasy and SF. In general, science fiction is the literature of things that might someday be possible, and fantasy is the literature of things that are inherently impossible. Magic and mythology are popular themes in fantasy.
It is common to see narratives described as being essentially science fiction but "with fantasy elements." The term "science fantasy" is sometimes used to describe such material.
Horror fiction is the literature of the unnatural and supernatural, with the aim of unsettling or frightening the reader, sometimes with graphic violence. Historically it has also been known as "weird fiction." It commonly deals with the nature of evil, psychological, technological, and fantastic. Undead and supernatural creatures like vampires and zombies are popular horror motifs. Classic works like Frankenstein and Dracula and the works of Edgar Allan Poe helped define the genre, and today it is one of the most popular categories of movies.
Related genres
Works in which science and technology are a dominant theme, but based on current reality, may be considered mainstream fiction. Much of the thriller genre would be included, such as the novels of Tom Clancy or Michael Crichton, or the James Bond films.
Modernist works from writers like Kurt Vonnegut, Philip K. Dick, and Stanisław Lem have focused on speculative or existential perspectives on contemporary reality and are on the borderline between SF and the mainstream.
According to Robert J. Sawyer, "Science fiction and mystery have a great deal in common. Both prize the intellectual process of puzzle solving, and both require stories to be plausible and hinge on the way things really do work." Isaac Asimov, Anthony Boucher, Walter Mosely, and other writers incorporate mystery elements in their science fiction, and vice versa.
Subgenres
Hard science fiction, or "hard SF", is characterized by rigorous attention to accurate detail in quantitative sciences, especially physics, astrophysics, and chemistry. Many accurate predictions of the future come from the Hard science fiction subgenre, but inaccurate predictions have also come from this category: Arthur C. Clarke accurately predicted geosynchronous communications satellites, but erred in his prediction of deep layers of moondust in lunar craters. Some hard SF authors have distinguished themselves as working scientists, including Robert Forward, Gregory Benford, Charles Sheffield, and Vernor Vinge. Noteworthy hard SF authors, in addition to those mentioned, include Hal Clement, Joe Haldeman, Larry Niven, Jerry Pournelle and Stephen Baxter.
"Soft" science fiction is the antithesis of hard science fiction. It may describe works based on social sciences such as psychology, economics, political science, sociology, and anthropology. Noteworthy writers in this category include Ursula K. Le Guin, Robert A. Heinlein, and Philip K. Dick. The term can describe stories focused primarily on character and emotion; SFWA Grand Master Ray Bradbury is an acknowledged master of this art. Some writers blur the boundary between hard and soft science fiction - for example Mack Reynolds's work focuses on politics but anticipated many developments in computers, including cyber-terrorism.
Another branch of speculative fiction is the utopian or dystopian story. Satirical novels with fantastic settings may be considered speculative fiction; Gulliver's Travels, The Handmaid's Tale, Nineteen Eighty-Four, and Brave New World are examples.
The Cyberpunk genre emerged in the early 1980s; the name is a portmanteau of "cybernetics" and "punk", and was first coined by author Bruce Bethke in his 1980 short story "Cyberpunk". The time frame is usually near-future and the settings are often dystopian. Common themes in cyberpunk include advances in information technology and especially the Internet (visually abstracted as cyberspace), (possibly malevolent) artificial intelligence, enhancements of mind and body using bionic prosthetics and direct brain-computer interfaces called cyberware, and post-democratic societal control where corporations have more influence than governments. Nihilism, post-modernism, and film noir techniques are common elements, and the protagonists may be disaffected or reluctant anti-heroes. Noteworthy authors in this genre are William Gibson, Bruce Sterling, Pat Cadigan, and Rudy Rucker. The 1982 film Blade Runner is commonly accepted as a definitive example of the cyberpunk visual style.
Time travel stories have antecedents in the 18th and 19th centuries, and this subgenre was popularized by H. G. Wells's novel The Time Machine. Stories of this type are complicated by logical problems such as the grandfather paradox. Time travel is a popular subject in novels, television series, and as individual episodes within more general science fiction series (for example, "The City on the Edge of Forever" in Star Trek, "Babylon Squared" in Babylon 5, and "The Banks of the Lethe" in Andromeda.
Alternate history stories are based on the premise that historical events might have turned out differently. These stories may use time travel to change the past, or may simply set a story in a universe with a different history from our own. Classics in the genre include Bring the Jubilee by Ward Moore, in which the South wins the American Civil War and The Man in the High Castle, by Philip K. Dick, in which Germany and Japan win World War II. The Sidewise Award acknowledges the best works in this subgenre; the name is taken from Murray Leinster's early story "Sidewise in Time".
Military science fiction is set in the context of conflict between national, interplanetary, or interstellar armed forces; the primary viewpoint characters are usually soldiers. Stories include detail about military technology, procedure, ritual, and history; military stories may use parallels with historical conflicts. Heinlein's Starship Troopers is an early example, along with the Dorsai novels of Gordon Dickson. Prominent military SF authors include David Drake, David Weber, Jerry Pournelle, S. M. Stirling, and Lois McMaster Bujold. Joe Haldeman's The Forever War is a critique of the genre, a Vietnam-era response to the World War II-style stories of earlier authors. Baen Books is known for cultivating military science fiction authors. Television series within this subgenre include Battlestar Galactica, Stargate SG-1 and Space: Above and Beyond.
History
As a means of understanding the world through speculation and storytelling, science fiction has antecedents back to mythology, though precursors to science fiction as literature began to emerge during the Age of Reason with the development of science itself, Voltaire's Micromégas was one of the first. Following the 18th century development of the novel as a literary form, in the early 19th century, Mary Shelley's books Frankenstein and The Last Man helped define the form of the science fiction novel; later Edgar Allan Poe wrote a story about a flight to the moon. More examples appeared throughout the 19th century. Then with the dawn of new technologies such as electricity, the telegraph, and new forms of powered transportation, writers like Jules Verne and H. G. Wells created a body of work that became popular across broad cross-sections of society. In the late 19th century the term "scientific romance" was used in Britain to describe much of this fiction.
In the early 20th century, pulp magazines helped develop a new generation of mainly American SF writers, influenced by Hugo Gernsback, the founder of Amazing Stories magazine. In the late 1930s, John W. Campbell became editor of Astounding Science Fiction, and a critical mass of new writers emerged in New York City in a group called the Futurians, including Isaac Asimov, Damon Knight, Donald A. Wollheim, Frederik Pohl, James Blish, Judith Merril, and others. Other important writers during this period included Robert A. Heinlein, Arthur C. Clarke, and A. E. Van Vogt. Campbell's tenure at Astounding is considered to be the beginning of the Golden Age of science fiction, characterized by hard SF stories celebrating scientific achievement and progress. This lasted until postwar technological advances, new magazines like Galaxy under Pohl as editor, and a new generation of writers began writing stories outside the Campbell mode.
In the 1950s, the Beat generation included speculative writers like William S. Burroughs. In the 1960s and early 1970s, writers like Frank Herbert, Samuel R. Delany, Roger Zelazny, and Harlan Ellison explored new trends, ideas, and writing styles, while a group of writers, mainly in Britain, became known as the New Wave. In the 1970s, writers like Larry Niven and Poul Anderson began to redefine hard SF. Ursula K. Le Guin and others pioneered soft science fiction.
In the 1980s, cyberpunk authors like William Gibson turned away from the traditional optimism and support for progress of traditional science fiction. Star Wars helped spark a new interest in space opera, focusing more on story and character than on scientific accuracy. C. J. Cherryh's detailed explorations of alien life and complex scientific challenges influenced a generation of writers.
Emerging themes in the 1990s included environmental issues, the implications of the global Internet and the expanding information universe, questions about biotechnology and nanotechnology, as well as a post-Cold War interest in post-scarcity societies; Neal Stephenson's The Diamond Age comprehensively explores these themes. Lois McMaster Bujold's Vorkosigan novels brought the character-driven story back into prominence. The television series Star Trek: The Next Generation began a torrent of new SF shows, of which Babylon 5 was among the most highly acclaimed in the decade. A general concern about the rapid pace of technological change crystallized around the concept of the technological singularity, popularized by Vernor Vinge's novel Marooned in Realtime and then taken up by other authors. Television shows like Buffy the Vampire Slayer and movies like The Lord of the Rings created new interest in all the speculative genres in films, television, computer games, and books. According to Alan Laughlin, the Harry Potter stories have been wildly popular among young readers, increasing literacy rates worldwide.[
Innovation
While SF has provided criticism of developing and future technologies, it also produces innovation and new technology. The discussion of this topic has occurred more in literary and sociological than in scientific forums.
Cinema and media theorist Vivian Sobchack examines the dialogue between science fiction film and the technological imagination. Technology does impact how artists portray their fictionalized subjects, but the fictional world gives back to science by broadening imagination. While more prevalent in the beginning years of science fiction with writers like Isaac Asimov, Robert A. Heinlein, and Frank Walker, new authors like Michael Crichton still find ways to make the currently impossible technologies seem so close to being realized.
This has also been notably documented in the field of nanotechnology with University of Ottawa Professor José Lopez's article "Bridging the Gaps: Science Fiction in Nanotechnology." Lopez links both theoretical premises of science fiction worlds and the operation of nanotechnologies.
Srivenkat Bulemoni
Film noir in feature films
Film noir
Film noir is a cinematic term used primarily to describe stylish Hollywood crime dramas, particularly those that emphasize moral ambiguity and sexual motivation. Hollywood's classic film noir period is generally regarded as stretching from the early 1940s to the late 1950s. Film noir of this era is associated with a low-key black-and-white visual style that has roots in German Expressionist cinematography, while many of the prototypical stories and much of the attitude of classic noir derive from the hardboiled school of crime fiction that emerged in the United States during the Depression.
The term film noir (French for "black film"), first applied to Hollywood movies by French critic Nino Frank in 1946, was unknown to most American film industry professionals of the era. Cinema historians and critics defined the canon of film noir in retrospect; many of those involved in the making of the classic noirs later professed to be unaware of having created a distinctive type of film.
What is Noir ?.
"We'd be oversimplifying things in calling film noir oneiric, strange, erotic, ambivalent, and cruel...." This is the first of many attempts to define film noir made by the French critics Raymond Borde and Etienne Chaumeton in their 1955 book Panorama du film noir américain 1941–1953 (A Panorama of American Film Noir), the original and seminal extended treatment of the subject. They take pains to point out that not every film noir embodies all five attributes in equal measure—this one is more dreamlike, while this other is particularly brutal. The authors' caveats and repeated efforts at alternative definition have proved telling about noir's reliability as a label: in the five decades since, no definition has achieved anything close to general acceptance. The authors of most substantial considerations of film noir still find it necessary to add on to what are now innumerable attempts at definition. As Borde and Chaumeton suggest, however, the field of noir is very diverse and any generalization about it risks veering into oversimplification.
Film noirs embrace a variety of genres, from the gangster film to the police procedural to the so-called social problem picture, and evidence a variety of visual approaches, from meat-and-potatoes Hollywood mainstream to outré. While many critics refer to film noir as a genre itself, others argue that it can be no such thing. Though noir is often associated with an urban setting, for example, many classic noirs take place mainly in small towns, suburbia, rural areas, or on the open road, so setting can not be its genre determinant, as with the Western. Similarly, while the private eye and the femme fatale are character types conventionally identified with noir, the majority of film noirs feature neither, so there is no character basis for genre designation as with the gangster film. Nor does it rely on anything as evident as the monstrous or supernatural elements of the horror film, the speculative leaps of the science fiction film, or the song-and-dance routines of the musical.
A more analogous case is that of the screwball comedy, widely accepted by film historians as constituting a "genre"—the screwball is defined not by a fundamental attribute, but by a general disposition and a group of elements, some of which are found in each of the genre's films. However, because of the diversity of noir (much greater than that of the screwball comedy), certain scholars in the field, such as film historian Thomas Schatz, treat it as not a genre but a "style." Alain Silver, the most widely published American critic specializing in film noir studies, refers to it as a "cycle" and a "phenomenon," even as he argues that it has—like certain genres—a consistent set of visual and thematic codes. Other critics treat film noir as a "mood," a "movement," or a "series," or simply address a chosen set of movies from the "period." There is no consensus on the matter.
The prehistory of noir
Film noir has sources not only in cinema but other artistic media as well. The low-key lighting schemes commonly linked with the classic mode are in the tradition of chiaroscuro and tenebrism, techniques using high contrasts of light and dark developed by 15th- and 16th-century painters associated with Mannerism and the Baroque. Film noir's aesthetics are deeply influenced by German Expressionism, a cinematic movement of the 1910s and 1920s closely related to contemporaneous developments in theater, photography, painting, sculpture, and architecture. The opportunities offered by the booming Hollywood film industry and, later, the threat of growing Nazi power led to the emigration of many important film artists working in Germany who had either been directly involved in the Expressionist movement or studied with its practitioners. Directors such as Fritz Lang, Robert Siodmak, and Michael Curtiz brought dramatic lighting techniques and a psychologically expressive approach to mise-en-scène with them to Hollywood, where they would make some of the most famous of classic noirs. Lang's 1931 masterwork, the German M, is among the first major crime films of the sound era to join a characteristically noirish visual style with a noir-type plot, one in which the protagonist is a criminal (as are his most successful pursuers). M was also the occasion for the first star performance by Peter Lorre, who would go on to act in several formative American noirs of the classic era.
By 1931, Curtiz had already been in Hollywood for half a decade, making as many as six films a year. Movies of his such as 20,000 Years in Sing Sing (1932) and Private Detective 62 (1933) are among the early Hollywood sound films arguably classifiable as noir. Giving Expressionist-affiliated moviemakers particularly free stylistic rein were Universal horror pictures such as Dracula (1931), The Mummy (1932)—the former photographed and the latter directed by the Berlin-trained Karl Freund—and The Black Cat (1934), directed by Austrian émigré Edgar G. Ulmer. The Universal horror that comes closest to noir, both in story and sensibility, however, is The Invisible Man (1933), directed by Englishman James Whale and shot by American Carl Laemmle Jr.
The Vienna-born but largely American-raised Josef von Sternberg was directing in Hollywood at the same time. Films of his such as Shanghai Express (1932) and The Devil Is a Woman (1935), with their hothouse eroticism and baroque visual style, specifically anticipate central elements of classic noir. The commercial and critical success of Sternberg's silent Underworld in 1927 was largely responsible for spurring a trend of Hollywood gangster films. Popular movies in the genre such as Little Caesar (1931), The Public Enemy (1931), and Scarface (1932) demonstrated that there was an audience for crime dramas with morally reprehensible protagonists.
An important, and possibly influential, cinematic antecedent to classic noir was 1930s French poetic realism, with its romantic, fatalistic attitude and celebration of doomed heroes; an acknowledged influence on certain trends in noir was 1940s Italian neorealism, with its emphasis on quasi-documentary authenticity. (The Warner Bros. drama I Am a Fugitive from a Chain Gang [1932] presciently combines these sensibilities.) Director Jules Dassin of The Naked City (1948) pointed to the neorealists as inspiring his use of on-location photography with nonprofessional extras; three years earlier, The House on 92nd Street, directed by Henry Hathaway, demonstrated the parallel influence of the cinematic newsreel. A few movies now considered noir strove to depict comparatively ordinary protagonists with unspectacular lives in a manner occasionally evocative of neorealism—the most famous example is The Lost Weekend (1945), directed by Billy Wilder, yet another Vienna-born, Berlin-trained American auteur. (In turn, one of the primary influences on neorealism was the 1930 German film Menschen am Sonntag, codirected and cowritten by Siodmak, cowritten by Wilder, and codirected and produced by Ulmer.) Among those movies not themselves considered film noirs, perhaps none had a greater effect on the development of the genre than America's own Citizen Kane (1941), the landmark motion picture directed by Orson Welles. Its Sternbergian visual intricacy and complex, voiceover-driven narrative structure are echoed in dozens of classic film noirs.
"The Simple Art of Murder"
The primary literary influence on film noir was the hardboiled school of American detective and crime fiction, led in its early years by such writers as Dashiell Hammett (whose first novel, Red Harvest, was published in 1929) and James M. Cain (whose The Postman Always Rings Twice appeared five years later), and popularized in pulp magazines such as Black Mask. The classic film noirs The Maltese Falcon (1941) and The Glass Key (1942) were based on novels by Hammett; Cain's novels provided the basis for Double Indemnity (1944), Mildred Pierce (1945), The Postman Always Rings Twice (1946), and Slightly Scarlet (1956; adapted from Love's Lovely Counterfeit). A decade before the classic era, a story of Hammett's was the source for the gangster melodrama City Streets (1931), directed by Rouben Mamoulian and photographed by Lee Garmes, who worked regularly with Sternberg. Wedding a style and story both with many noir characteristics, released the month before Lang's M, City Streets has a claim to being the first major film noir.
Raymond Chandler, who debuted as a novelist with The Big Sleep in 1939, soon became the most famous author of the hardboiled school. Not only were Chandler's novels turned into major noirs—Murder, My Sweet (1944; adapted from Farewell, My Lovely), The Big Sleep (1946), and Lady in the Lake (1947)—he was an important screenwriter in the genre as well, producing the scripts for Double Indemnity, The Blue Dahlia (1946), and Strangers on a Train (1951). Where Chandler, like Hammett, centered most of his novels and stories on the character of the private eye, Cain featured less heroic protagonists and focused more on psychological exposition than on crime solving; the Cain approach has come to be identified with a subset of the hardboiled genre dubbed "noir fiction." For much of the 1940s, one of the most prolific and successful authors of this often downbeat brand of suspense tale was Cornell Woolrich (sometimes using the pseudonyms George Hopley or William Irish). No writer's published work provided the basis for more film noirs of the classic period than Woolrich's: thirteen in all, including Black Angel (1946), Deadline at Dawn (1946), and Fear in the Night (1947).
A crucial literary source for film noir, now often overlooked, was W. R. Burnett, whose first novel to be published was Little Caesar, in 1929. It would be turned into the hit for Warner Bros. in 1931; the following year, Burnett was hired to write dialogue for Scarface, while Beast of the City was adapted from one of his stories. Some critics regard these latter two movies as film noirs, despite their early date. Burnett's characteristic narrative approach fell somewhere between that of the quintessential hardboiled writers and their noir fiction compatriots—his protagonists were often heroic in their way, a way just happening to be that of the gangster. During the classic era, his work, either as author or screenwriter, was the basis for seven movies now widely regarded as film noirs, including three of the most famous: High Sierra (1941), This Gun for Hire (1942), and The Asphal Jungle (1950).
The classic period
The 1940s and 1950s are generally regarded as the "classic period" of American film noir. While City Streets and other pre-WWII crime melodramas such as Fury (1936) and You Only Live Once (1937), both directed by Fritz Lang, are considered full-fledged noir by some critics, most categorize them as "proto-noir" or in similar terms. The movie now most commonly cited as the first "true" film noir is Stranger on the Third Floor (1940), directed by Latvian-born, Soviet-trained Boris Ingster. Hungarian émigré Peter Lorre, who played secondary roles in bigger-budgeted movies, was top-billed, though here too he did not play the lead. Stranger on the Third Floor was not recognized as the beginning of a trend, let alone a new genre, for many decades. Indeed, even though modestly budgeted—at the high end of the B movie scale—it still lost its studio, RKO, $56,000, almost a third of its total cost. Variety found Ingster's work "too studied and when original, lacks the flare to hold attention. It's a film too arty for average audiences, and too humdrum for others."
Most of the film noirs of the classic period were similarly low- and modestly budgeted features without major stars (B movies either literally or in spirit), in which writers, directors, cinematographers, and other craftsmen found themselves relatively free from the typical big-picture constraints. Enforcement of the Production Code ensured that no movie character could literally get away with murder or be seen sharing a bed with anyone but a spouse; within those bounds, however, many films now identified as noir feature plot elements and dialogue that were—in some cases, still are—quite risqué. Thematically, film noirs as a group were most exceptional for the relative frequency with which they centered on women of questionable virtue—a focus that had become rare in Hollywood films after the mid-1930s and the end of the pre-Code era. The signal movie in this vein was Double Indemnity (1944), directed by Billy Wilder; setting the mold was Barbara Stanwyck's unforgettable femme fatale, Phyllis Dietrichson—an apparent nod to Marlene Dietrich, who had built her extraordinary career playing such characters for Sternberg. An A-level feature all the way, the movie's commercial success and seven Oscar nominations made it probably the most influential of the early noirs. A slew of now-renowned noir "bad girls" would follow, such as those played by Rita Hayworth in Gilda (1946), Lana Turner in The Postman Always Rings Twice (1946), Ava Gardner in The Killers (1946), and Jane Greer in Out of the Past (1947). The iconic noir counterpart to the femme fatale, the private eye, came to the fore in movies such as The Maltese Falcon (1941), with Humphrey Bogart as Sam Spade, and Murder, My Sweet (1944), with Dick Powell as Philip Marlowe. Other seminal noir sleuths served larger institutions, such as Dana Andrews's police detective in Laura (1944), Edmond O'Brien's insurance investigator in The Killers, and Edward G. Robinson's government agent in The Stranger (1946).
Many claim that there is a significant distinction between the noirs of the 1940s and those of the 1950s—other than the relative disappearance of the private eye as a lead character there is no consensus on how that distinction manifests, but it often comes down to a view that the later classic noirs tend to be more "extreme" in one way or another. A prime example is Kiss Me Deadly (1955). Based on a novel by Mickey Spillane, the best-selling of all the hardboiled authors, here the protagonist is a private eye, Mike Hammer. As described by Paul Schrader, "Robert Aldrich's teasing direction carries noir to its sleaziest and most perversely erotic. Hammer overturns the underworld in search of the 'great whatsit'...[which] turns out to be—joke of jokes—an exploding atomic bomb."Orson Welles's baroquely styled Touch of Evil (1958) is frequently cited as the last noir of the classic period. Some scholars believe film noir never really ended, but continued to transform even as the characteristic noir visual style began to seem dated and changing production conditions led Hollywood in different directions—in this view, post-1950s films in the noir tradition are seen as part of a continuity with classic noir. A majority of critics, however, regard comparable movies made outside the classic era to be something other than genuine film noirs. They regard true film noir as belonging to a temporally and geographically limited cycle or period, treating subsequent films that evoke the classics as fundamentally different due to general shifts in moviemaking style and latter-day awareness of noir as a historical source for allusion.
During these two decades in which noir is now seen as flourishing, conventional A films, however emotionally tortuous, were ultimately expected to convey positive, reassuring messages; in terms of style, invisible camerawork and editing techniques, flattering soft lighting schemes, and deluxely trimmed sets were the rule. The makers of film noir turned all this on its head, creating sophisticated, sometimes bleak dramas tinged with mistrust, cynicism, and a sense of the absurd, in settings that were frequently either real-life urban or budget-saving minimalist, with often strikingly expressionist lighting and unsettling techniques such as wildly skewed camera angles and convoluted flashbacks. The noir style gradually influenced the mainstream—even beyond Hollywood.
Directors and the business of noir
While the inceptive noir, Stranger on the Third Floor, was a B picture directed by a virtual unknown, many of the films that have earned enduring fame were A-list productions by name-brand directors. Debuting as a director with The Maltese Falcon (1941), John Huston followed with the major noirs Key Largo (1948) and The Asphalt Jungle (1950). Opinion is divided on the noir status of several of Alfred Hitchcock's thrillers from the era; at least four qualify by consensus: Shadow of a Doubt (1943), Notorious (1946), Strangers on a Train (1951), and The Wrong Man (1956). Otto Preminger's success with Laura made his name and helped establish 20th Century-Fox's reputation for well-appointed A noirs. Among Hollywood's most celebrated directors of the era, arguably none worked more often in a noir mode than Preminger—his other classic noirs include Fallen Angel (1945), Whirlpool (1949), Where the Sidewalk Ends (1950) (all for Fox) and Angel Face (1952). A half-decade after Double Indemnity and The Lost Weekend, Billy Wilder made Sunset Boulevard (1950) and Ace in the Hole (1951), noirs that weren't so much crime dramas as satires on, respectively, Hollywood and the news media. In a Lonely Place (1950) was Nicholas Ray's breakthrough; his other noirs include his debut, They Live by Night (1948), and On Dangerous Ground (1952).
Orson Welles had notorious problems with financing, but his three film noirs were reasonably well budgeted: The Lady from Shanghai (1947) received top-level, "prestige" backing, while both The Stranger—his most conventional film—and Touch of Evil —an unmistakably personal work—were funded at levels lower but still commensurate with headlining releases. Like The Stranger, Fritz Lang's The Woman in the Window (1945) was a production of the independent International Pictures. Lang's follow-up, Scarlet Street (1945), was one of the few classic noirs to be officially censored: filled with erotic innuendo, it was temporarily banned in Milwaukee, Atlanta, and New York State. Scarlet Street was a semi-independent—cosponsored by Universal and Lang's own Diana Productions, of which the movie's costar, Joan Bennett, was the second biggest shareholder. Lang, Bennett, and her husband, Universal veteran and Diana production head Walter Wanger, would make Secret Beyond the Door (1948) in similar fashion.Before he was forced abroad for political reasons, director Jules Dassin made two classic noirs that also straddled the major/independent line: Brute Force (1947) and the influential documentary-style Naked City were developed by producer Mark Hellinger, who had an "inside/outside" contract with Universal similar to Wanger's. Years earlier, working at Warner Bros., Hellinger had produced three films for Raoul Walsh, the proto-noirs They Drive by Night (1940) and Manpower (1941) and the recognized classic High Sierra (1941). Walsh had no great name recognition during his half-century as a working director, but his noirs—White Heat (1949) and The Enforcer (1951) would follow—had A-list stars and were of consistently high quality. In addition to the aforementioned, other directors associated with top-of-the-bill Hollywood film noirs include Edward Dmytryk (Murder, My Sweet [1944]; Crossfire [1947]), the first important noir director to fall prey to the industry blacklist, as well as Henry Hathaway (The Dark Corner [1946], Kiss of Death [1947]) and John Farrow (The Big Clock [1948], His Kind of Woman [1951]).
But again, as suggested above, most of the Hollywood films now considered classic noirs fall into the broad category of the "B movie." Some were Bs in the most precise sense, produced to run on the bottom of double bills by a low-budget unit of one of the major studios or by one of the smaller, so-called Poverty Row outfits, from the relatively well-off Monogram to shakier ventures such as Producers Releasing Corporation (PRC). Jacques Tourneur had made over thirty Hollywood Bs (a few now highly regarded, most completely forgotten) before directing the A-level Out of the Past, considered by some critics the pinnacle of classic noir. Movies with budgets a step up the ladder, known as "intermediates" within the industry, might be treated as A or B pictures depending on the circumstance—Monogram created a new unit, Allied Artists, in the late 1940s to focus on this sort of production. Such films have long colloquially been referred to as B movies. Robert Wise (Born to Kill [1947], The Set-Up [1949]) and Anthony Mann (T-Men [1947], Raw Deal [1948]) each made a series of impressive intermediates, many of them noirs, before graduating to steady work on big-budget productions. Mann did some of his finest work with cinematographer John Alton, a specialist in what critic James Naremore describes as "hypnotic moments of light-in-darkness." He Walked by Night (1948), shot by Alton and, though credited solely to Alfred Werker, directed in large part by Mann, demonstrates their technical mastery and exemplifies the late 1940s trend of "police procedural" crime dramas. Put out, like other Mann–Alton noirs, by the small Eagle-Lion company, it was the direct inspiration for the Dragnet series, which debuted on radio in 1949 and television in 1951.
Directors such as Samuel Fuller (Pickup on South Street [1953], Underworld U.S.A. [1961]), Joseph H. Lewis (Gun Crazy [1949], The Big Combo [1955]), and Phil Karlson (Kansas City Confidential [1952], The Brothers Rico [1957]) built now well-respected oeuvres largely at the B-movie/intermediate level. (Dalton Trumbo—like Dmytryk, one of the Hollywood Ten—wrote the Gun Crazy screenplay disguised by a front while still blacklisted.) The work of others such as Felix E. Feist (The Devil Thumbs a Ride [1947], Tomorrow Is Another Day [1951]) await critical rediscovery. Edgar G. Ulmer spent almost his entire Hollywood career working at B studios—once in a while on projects that achieved intermediate status; for the most part, on unmistakable Bs. In 1945, while at PRC, he directed one of the all-time noir cult classics, Detour. Ulmer's other noirs include Strange Illusion (1945), also for PRC; Blonde Ice (1948), distributed by tiny Film Classics; and Murder Is My Beat (1955), for Allied Artists.
A number of low and modestly budgeted noirs were made by independent, often actor-owned, companies contracting with one of the larger outfits for distribution. Serving as producer, writer, director, and "star," Hugo Haas made several such films, including Pickup (1951) and The Other Woman (1954). It was in this way that accomplished noir actress Ida Lupino became the sole female director in Hollywood during the late 1940s and much of the 1950s—her best-known film is The Hitch-Hiker (1953), developed by her company, The Filmakers, with support and distribution by RKO. It is one of the seven classic film noirs produced largely outside of the major studios that have been chosen to date for the United States National Film Registry. Of the others, one was a small-studio release: Detour. Four were independent productions distributed by United Artists, the "studio without a studio": Gun Crazy; Kiss Me Deadly; D.O.A. (1950), directed by Rudolph Maté; and Sweet Smell of Success (1957), directed by Alexander Mackendrick. One was an independent distributed by MGM, the industry leader: Force of Evil (1948), directed by Abraham Polonsky and starring John Garfield, both of whom would be blacklisted in the 1950s. Independent production usually meant restricted circumstances, but not always—Sweet Smell of Success, for instance, despite the original plans of the production team, was clearly not made on the cheap, though like many other cherished A-budget noirs it might be said to have a B-movie soul.
Perhaps no director better displayed that spirit than the German-born Robert Siodmak, who had already made a score of films before his 1940 arrival in Hollywood. Working mostly on A features, he made eight movies now regarded as classic film noirs (a figure matched only by Lang and Mann). In addition to The Killers, Burt Lancaster's debut and a Hellinger/Universal coproduction, Siodmak's other important contributions to the genre include 1944's Phantom Lady (a top-of-the-line B and Woolrich adaptation), the ironically titled Christmas Holiday (1944), and Cry of the City (1948). Criss Cross (1949), with Lancaster again the lead, exemplifies how Siodmak brought the virtues of the B-movie to the A noir. In addition to the relatively looser constraints on character and message at lower budgets, the nature of B production lent itself to the noir style for directly economic reasons: dim lighting not only saved on electrical costs but helped cloak cheap sets (mist and smoke also served the cause); night shooting was often compelled by hurried production schedules; plots with obscure motivations and intriguingly elliptical transitions were sometimes the consequence of scripts written in haste, not every scene of which was there always time or money to shoot. In Criss Cross, Siodmak achieves all these effects with purpose, wrapping them around Yvonne De Carlo, playing the most understandable of femme fatales, Dan Duryea, in one of his deliciously charismatic villain roles, and Lancaster—already an established star—as an ordinary joe turned armed robber, a romantic obsessive on a one-way road to ruin.
Film noir outside the United States
Some critics regard classic film noir as a cycle exclusive to the United States; e.g., Alain Silver and Elizabeth Ward: "With the Western, film noir shares the distinction of being an indigenous American form...a wholly American film style." Others, however, regard noir as an international phenomenon. Even before the beginning of the generally accepted classic period, there were movies made far from Hollywood that can be seen in retrospect as film noirs, for example, the French productions Pépé le Moko (1937), directed by Jules Duvivier, and Le Jour se lève (1939), directed by Marcel Carné.
During the classic period, there were many films produced outside the United States, particularly in France, that share elements of style, theme, and sensibility with American film noirs and may themselves be included in the genre's canon. In certain cases, the interrelationship with Hollywood noir is obvious: American-born director Jules Dassinmoved to France in the early 1950s as a result of the Hollywood blacklist, and made one of the most famous French film noirs, Rififi (1955). Other well-known French films often classified as noir include Quai des Orfèvres (1947), Le Salaire de la peur (released in English-speaking countries as The Wages of Fear) (1953) and Les Diaboliques (1955), all directed by Henri-Georges Clouzot; Casque d'or (1952) and Touchez pas au grisbi (1954), both directed by Jacques Becker; and Ascenseur pour l'échafaud (1958), directed by Louis Malle. French director Jean-Pierre Melville is widely recognized for his tragic, minimalist film noirs—Quand tu liras cette lettre (1953) and Bob le flambeur (1955), from the classic period, were followed by Le Doulos (1962), Le Samouraï (1967), and Le Cercle rouge (1970).
A number of thrillers produced in Great Britain during the classic period are also frequently referred to as film noirs, including Contraband (1940) and The Small Back Room (1949), directed by Michael Powell and Emeric Pressburger; Brighton Rock (1947), directed by John Boulting; They Made Me a Fugitive (1947), directed by Alberto Cavalcanti; and Cast a Dark Shadow (1955), directed by Lewis Gilbert. Terence Fisher directed several low-budget thrillers in a noir mode for Hammer Film Productions, including The Last Page (aka Man Bait; 1952), Stolen Face (1952), and Murder by Proxy (aka Blackout; 1954). Before leaving for France, Jules Dassin had been obliged by political pressure to shoot his last English-language film of the classic noir period in Great Britain: Night and the City (1950), though it was conceived in the United States and was not only directed by an American but also stars two American actors (Richard Widmark and Gene Tierney), is technically a UK production, financed by 20th Century-Fox's British subsidiary. The most famous of classic British noirs is director Carol Reed's The Third Man (1949), like Brighton Rock based on a Graham Greene novel. Set in Vienna immediately after World War II, it stars Joseph Cotten and Orson Welles, both prominent American actors who starred in U.S. film noirs; despite being a completely British production, the movie is sometimes discussed as if it is a classic Hollywood noir.
Elsewhere, Italian director Luchino Visconti adapted Cain's The Postman Always Rings Twice as Ossessione (1943), regarded both as one of the great noirs and a seminal film in the development of neorealism. (This was not even the first screen version of Cain's novel, having been preceded by the French Le Dernier tournant in 1939.) In Japan, the celebrated Akira Kurosawa directed several movies recognizable as film noirs, including Drunken Angel (1948), Stray Dog (1949), and High and Low (1963).
Among the first major neo-noir films—the term often applied to movies that consciously refer back to the classic noir tradition—was the French Tirez sur la pianiste (1960), directed by François Truffaut from a novel by one of the gloomiest of American noir fiction writers, David Goodis. Noir crime films and melodramas have been produced in many countries in the post-classic area, some of them quintessentially self-aware neo-noirs—for example, Il Conformista (1969; Italy), Der Amerikanische Freund (1977; Germany), The Element of Crime (1984; Denmark), As Tears Go By (1988; Hong Kong)—others simply sharing narrative elements and a version of the hardboiled sensibility associated with classic noir—The Castle of Sand (1974; Japan), Insomnia (1997; Norway), Croupier (1998; UK), Blind Shaft (2003; China).
Srivenkat Bulemoni
Film noir is a cinematic term used primarily to describe stylish Hollywood crime dramas, particularly those that emphasize moral ambiguity and sexual motivation. Hollywood's classic film noir period is generally regarded as stretching from the early 1940s to the late 1950s. Film noir of this era is associated with a low-key black-and-white visual style that has roots in German Expressionist cinematography, while many of the prototypical stories and much of the attitude of classic noir derive from the hardboiled school of crime fiction that emerged in the United States during the Depression.
The term film noir (French for "black film"), first applied to Hollywood movies by French critic Nino Frank in 1946, was unknown to most American film industry professionals of the era. Cinema historians and critics defined the canon of film noir in retrospect; many of those involved in the making of the classic noirs later professed to be unaware of having created a distinctive type of film.
What is Noir ?.
"We'd be oversimplifying things in calling film noir oneiric, strange, erotic, ambivalent, and cruel...." This is the first of many attempts to define film noir made by the French critics Raymond Borde and Etienne Chaumeton in their 1955 book Panorama du film noir américain 1941–1953 (A Panorama of American Film Noir), the original and seminal extended treatment of the subject. They take pains to point out that not every film noir embodies all five attributes in equal measure—this one is more dreamlike, while this other is particularly brutal. The authors' caveats and repeated efforts at alternative definition have proved telling about noir's reliability as a label: in the five decades since, no definition has achieved anything close to general acceptance. The authors of most substantial considerations of film noir still find it necessary to add on to what are now innumerable attempts at definition. As Borde and Chaumeton suggest, however, the field of noir is very diverse and any generalization about it risks veering into oversimplification.
Film noirs embrace a variety of genres, from the gangster film to the police procedural to the so-called social problem picture, and evidence a variety of visual approaches, from meat-and-potatoes Hollywood mainstream to outré. While many critics refer to film noir as a genre itself, others argue that it can be no such thing. Though noir is often associated with an urban setting, for example, many classic noirs take place mainly in small towns, suburbia, rural areas, or on the open road, so setting can not be its genre determinant, as with the Western. Similarly, while the private eye and the femme fatale are character types conventionally identified with noir, the majority of film noirs feature neither, so there is no character basis for genre designation as with the gangster film. Nor does it rely on anything as evident as the monstrous or supernatural elements of the horror film, the speculative leaps of the science fiction film, or the song-and-dance routines of the musical.
A more analogous case is that of the screwball comedy, widely accepted by film historians as constituting a "genre"—the screwball is defined not by a fundamental attribute, but by a general disposition and a group of elements, some of which are found in each of the genre's films. However, because of the diversity of noir (much greater than that of the screwball comedy), certain scholars in the field, such as film historian Thomas Schatz, treat it as not a genre but a "style." Alain Silver, the most widely published American critic specializing in film noir studies, refers to it as a "cycle" and a "phenomenon," even as he argues that it has—like certain genres—a consistent set of visual and thematic codes. Other critics treat film noir as a "mood," a "movement," or a "series," or simply address a chosen set of movies from the "period." There is no consensus on the matter.
The prehistory of noir
Film noir has sources not only in cinema but other artistic media as well. The low-key lighting schemes commonly linked with the classic mode are in the tradition of chiaroscuro and tenebrism, techniques using high contrasts of light and dark developed by 15th- and 16th-century painters associated with Mannerism and the Baroque. Film noir's aesthetics are deeply influenced by German Expressionism, a cinematic movement of the 1910s and 1920s closely related to contemporaneous developments in theater, photography, painting, sculpture, and architecture. The opportunities offered by the booming Hollywood film industry and, later, the threat of growing Nazi power led to the emigration of many important film artists working in Germany who had either been directly involved in the Expressionist movement or studied with its practitioners. Directors such as Fritz Lang, Robert Siodmak, and Michael Curtiz brought dramatic lighting techniques and a psychologically expressive approach to mise-en-scène with them to Hollywood, where they would make some of the most famous of classic noirs. Lang's 1931 masterwork, the German M, is among the first major crime films of the sound era to join a characteristically noirish visual style with a noir-type plot, one in which the protagonist is a criminal (as are his most successful pursuers). M was also the occasion for the first star performance by Peter Lorre, who would go on to act in several formative American noirs of the classic era.
By 1931, Curtiz had already been in Hollywood for half a decade, making as many as six films a year. Movies of his such as 20,000 Years in Sing Sing (1932) and Private Detective 62 (1933) are among the early Hollywood sound films arguably classifiable as noir. Giving Expressionist-affiliated moviemakers particularly free stylistic rein were Universal horror pictures such as Dracula (1931), The Mummy (1932)—the former photographed and the latter directed by the Berlin-trained Karl Freund—and The Black Cat (1934), directed by Austrian émigré Edgar G. Ulmer. The Universal horror that comes closest to noir, both in story and sensibility, however, is The Invisible Man (1933), directed by Englishman James Whale and shot by American Carl Laemmle Jr.
The Vienna-born but largely American-raised Josef von Sternberg was directing in Hollywood at the same time. Films of his such as Shanghai Express (1932) and The Devil Is a Woman (1935), with their hothouse eroticism and baroque visual style, specifically anticipate central elements of classic noir. The commercial and critical success of Sternberg's silent Underworld in 1927 was largely responsible for spurring a trend of Hollywood gangster films. Popular movies in the genre such as Little Caesar (1931), The Public Enemy (1931), and Scarface (1932) demonstrated that there was an audience for crime dramas with morally reprehensible protagonists.
An important, and possibly influential, cinematic antecedent to classic noir was 1930s French poetic realism, with its romantic, fatalistic attitude and celebration of doomed heroes; an acknowledged influence on certain trends in noir was 1940s Italian neorealism, with its emphasis on quasi-documentary authenticity. (The Warner Bros. drama I Am a Fugitive from a Chain Gang [1932] presciently combines these sensibilities.) Director Jules Dassin of The Naked City (1948) pointed to the neorealists as inspiring his use of on-location photography with nonprofessional extras; three years earlier, The House on 92nd Street, directed by Henry Hathaway, demonstrated the parallel influence of the cinematic newsreel. A few movies now considered noir strove to depict comparatively ordinary protagonists with unspectacular lives in a manner occasionally evocative of neorealism—the most famous example is The Lost Weekend (1945), directed by Billy Wilder, yet another Vienna-born, Berlin-trained American auteur. (In turn, one of the primary influences on neorealism was the 1930 German film Menschen am Sonntag, codirected and cowritten by Siodmak, cowritten by Wilder, and codirected and produced by Ulmer.) Among those movies not themselves considered film noirs, perhaps none had a greater effect on the development of the genre than America's own Citizen Kane (1941), the landmark motion picture directed by Orson Welles. Its Sternbergian visual intricacy and complex, voiceover-driven narrative structure are echoed in dozens of classic film noirs.
"The Simple Art of Murder"
The primary literary influence on film noir was the hardboiled school of American detective and crime fiction, led in its early years by such writers as Dashiell Hammett (whose first novel, Red Harvest, was published in 1929) and James M. Cain (whose The Postman Always Rings Twice appeared five years later), and popularized in pulp magazines such as Black Mask. The classic film noirs The Maltese Falcon (1941) and The Glass Key (1942) were based on novels by Hammett; Cain's novels provided the basis for Double Indemnity (1944), Mildred Pierce (1945), The Postman Always Rings Twice (1946), and Slightly Scarlet (1956; adapted from Love's Lovely Counterfeit). A decade before the classic era, a story of Hammett's was the source for the gangster melodrama City Streets (1931), directed by Rouben Mamoulian and photographed by Lee Garmes, who worked regularly with Sternberg. Wedding a style and story both with many noir characteristics, released the month before Lang's M, City Streets has a claim to being the first major film noir.
Raymond Chandler, who debuted as a novelist with The Big Sleep in 1939, soon became the most famous author of the hardboiled school. Not only were Chandler's novels turned into major noirs—Murder, My Sweet (1944; adapted from Farewell, My Lovely), The Big Sleep (1946), and Lady in the Lake (1947)—he was an important screenwriter in the genre as well, producing the scripts for Double Indemnity, The Blue Dahlia (1946), and Strangers on a Train (1951). Where Chandler, like Hammett, centered most of his novels and stories on the character of the private eye, Cain featured less heroic protagonists and focused more on psychological exposition than on crime solving; the Cain approach has come to be identified with a subset of the hardboiled genre dubbed "noir fiction." For much of the 1940s, one of the most prolific and successful authors of this often downbeat brand of suspense tale was Cornell Woolrich (sometimes using the pseudonyms George Hopley or William Irish). No writer's published work provided the basis for more film noirs of the classic period than Woolrich's: thirteen in all, including Black Angel (1946), Deadline at Dawn (1946), and Fear in the Night (1947).
A crucial literary source for film noir, now often overlooked, was W. R. Burnett, whose first novel to be published was Little Caesar, in 1929. It would be turned into the hit for Warner Bros. in 1931; the following year, Burnett was hired to write dialogue for Scarface, while Beast of the City was adapted from one of his stories. Some critics regard these latter two movies as film noirs, despite their early date. Burnett's characteristic narrative approach fell somewhere between that of the quintessential hardboiled writers and their noir fiction compatriots—his protagonists were often heroic in their way, a way just happening to be that of the gangster. During the classic era, his work, either as author or screenwriter, was the basis for seven movies now widely regarded as film noirs, including three of the most famous: High Sierra (1941), This Gun for Hire (1942), and The Asphal Jungle (1950).
The classic period
The 1940s and 1950s are generally regarded as the "classic period" of American film noir. While City Streets and other pre-WWII crime melodramas such as Fury (1936) and You Only Live Once (1937), both directed by Fritz Lang, are considered full-fledged noir by some critics, most categorize them as "proto-noir" or in similar terms. The movie now most commonly cited as the first "true" film noir is Stranger on the Third Floor (1940), directed by Latvian-born, Soviet-trained Boris Ingster. Hungarian émigré Peter Lorre, who played secondary roles in bigger-budgeted movies, was top-billed, though here too he did not play the lead. Stranger on the Third Floor was not recognized as the beginning of a trend, let alone a new genre, for many decades. Indeed, even though modestly budgeted—at the high end of the B movie scale—it still lost its studio, RKO, $56,000, almost a third of its total cost. Variety found Ingster's work "too studied and when original, lacks the flare to hold attention. It's a film too arty for average audiences, and too humdrum for others."
Most of the film noirs of the classic period were similarly low- and modestly budgeted features without major stars (B movies either literally or in spirit), in which writers, directors, cinematographers, and other craftsmen found themselves relatively free from the typical big-picture constraints. Enforcement of the Production Code ensured that no movie character could literally get away with murder or be seen sharing a bed with anyone but a spouse; within those bounds, however, many films now identified as noir feature plot elements and dialogue that were—in some cases, still are—quite risqué. Thematically, film noirs as a group were most exceptional for the relative frequency with which they centered on women of questionable virtue—a focus that had become rare in Hollywood films after the mid-1930s and the end of the pre-Code era. The signal movie in this vein was Double Indemnity (1944), directed by Billy Wilder; setting the mold was Barbara Stanwyck's unforgettable femme fatale, Phyllis Dietrichson—an apparent nod to Marlene Dietrich, who had built her extraordinary career playing such characters for Sternberg. An A-level feature all the way, the movie's commercial success and seven Oscar nominations made it probably the most influential of the early noirs. A slew of now-renowned noir "bad girls" would follow, such as those played by Rita Hayworth in Gilda (1946), Lana Turner in The Postman Always Rings Twice (1946), Ava Gardner in The Killers (1946), and Jane Greer in Out of the Past (1947). The iconic noir counterpart to the femme fatale, the private eye, came to the fore in movies such as The Maltese Falcon (1941), with Humphrey Bogart as Sam Spade, and Murder, My Sweet (1944), with Dick Powell as Philip Marlowe. Other seminal noir sleuths served larger institutions, such as Dana Andrews's police detective in Laura (1944), Edmond O'Brien's insurance investigator in The Killers, and Edward G. Robinson's government agent in The Stranger (1946).
Many claim that there is a significant distinction between the noirs of the 1940s and those of the 1950s—other than the relative disappearance of the private eye as a lead character there is no consensus on how that distinction manifests, but it often comes down to a view that the later classic noirs tend to be more "extreme" in one way or another. A prime example is Kiss Me Deadly (1955). Based on a novel by Mickey Spillane, the best-selling of all the hardboiled authors, here the protagonist is a private eye, Mike Hammer. As described by Paul Schrader, "Robert Aldrich's teasing direction carries noir to its sleaziest and most perversely erotic. Hammer overturns the underworld in search of the 'great whatsit'...[which] turns out to be—joke of jokes—an exploding atomic bomb."Orson Welles's baroquely styled Touch of Evil (1958) is frequently cited as the last noir of the classic period. Some scholars believe film noir never really ended, but continued to transform even as the characteristic noir visual style began to seem dated and changing production conditions led Hollywood in different directions—in this view, post-1950s films in the noir tradition are seen as part of a continuity with classic noir. A majority of critics, however, regard comparable movies made outside the classic era to be something other than genuine film noirs. They regard true film noir as belonging to a temporally and geographically limited cycle or period, treating subsequent films that evoke the classics as fundamentally different due to general shifts in moviemaking style and latter-day awareness of noir as a historical source for allusion.
During these two decades in which noir is now seen as flourishing, conventional A films, however emotionally tortuous, were ultimately expected to convey positive, reassuring messages; in terms of style, invisible camerawork and editing techniques, flattering soft lighting schemes, and deluxely trimmed sets were the rule. The makers of film noir turned all this on its head, creating sophisticated, sometimes bleak dramas tinged with mistrust, cynicism, and a sense of the absurd, in settings that were frequently either real-life urban or budget-saving minimalist, with often strikingly expressionist lighting and unsettling techniques such as wildly skewed camera angles and convoluted flashbacks. The noir style gradually influenced the mainstream—even beyond Hollywood.
Directors and the business of noir
While the inceptive noir, Stranger on the Third Floor, was a B picture directed by a virtual unknown, many of the films that have earned enduring fame were A-list productions by name-brand directors. Debuting as a director with The Maltese Falcon (1941), John Huston followed with the major noirs Key Largo (1948) and The Asphalt Jungle (1950). Opinion is divided on the noir status of several of Alfred Hitchcock's thrillers from the era; at least four qualify by consensus: Shadow of a Doubt (1943), Notorious (1946), Strangers on a Train (1951), and The Wrong Man (1956). Otto Preminger's success with Laura made his name and helped establish 20th Century-Fox's reputation for well-appointed A noirs. Among Hollywood's most celebrated directors of the era, arguably none worked more often in a noir mode than Preminger—his other classic noirs include Fallen Angel (1945), Whirlpool (1949), Where the Sidewalk Ends (1950) (all for Fox) and Angel Face (1952). A half-decade after Double Indemnity and The Lost Weekend, Billy Wilder made Sunset Boulevard (1950) and Ace in the Hole (1951), noirs that weren't so much crime dramas as satires on, respectively, Hollywood and the news media. In a Lonely Place (1950) was Nicholas Ray's breakthrough; his other noirs include his debut, They Live by Night (1948), and On Dangerous Ground (1952).
Orson Welles had notorious problems with financing, but his three film noirs were reasonably well budgeted: The Lady from Shanghai (1947) received top-level, "prestige" backing, while both The Stranger—his most conventional film—and Touch of Evil —an unmistakably personal work—were funded at levels lower but still commensurate with headlining releases. Like The Stranger, Fritz Lang's The Woman in the Window (1945) was a production of the independent International Pictures. Lang's follow-up, Scarlet Street (1945), was one of the few classic noirs to be officially censored: filled with erotic innuendo, it was temporarily banned in Milwaukee, Atlanta, and New York State. Scarlet Street was a semi-independent—cosponsored by Universal and Lang's own Diana Productions, of which the movie's costar, Joan Bennett, was the second biggest shareholder. Lang, Bennett, and her husband, Universal veteran and Diana production head Walter Wanger, would make Secret Beyond the Door (1948) in similar fashion.Before he was forced abroad for political reasons, director Jules Dassin made two classic noirs that also straddled the major/independent line: Brute Force (1947) and the influential documentary-style Naked City were developed by producer Mark Hellinger, who had an "inside/outside" contract with Universal similar to Wanger's. Years earlier, working at Warner Bros., Hellinger had produced three films for Raoul Walsh, the proto-noirs They Drive by Night (1940) and Manpower (1941) and the recognized classic High Sierra (1941). Walsh had no great name recognition during his half-century as a working director, but his noirs—White Heat (1949) and The Enforcer (1951) would follow—had A-list stars and were of consistently high quality. In addition to the aforementioned, other directors associated with top-of-the-bill Hollywood film noirs include Edward Dmytryk (Murder, My Sweet [1944]; Crossfire [1947]), the first important noir director to fall prey to the industry blacklist, as well as Henry Hathaway (The Dark Corner [1946], Kiss of Death [1947]) and John Farrow (The Big Clock [1948], His Kind of Woman [1951]).
But again, as suggested above, most of the Hollywood films now considered classic noirs fall into the broad category of the "B movie." Some were Bs in the most precise sense, produced to run on the bottom of double bills by a low-budget unit of one of the major studios or by one of the smaller, so-called Poverty Row outfits, from the relatively well-off Monogram to shakier ventures such as Producers Releasing Corporation (PRC). Jacques Tourneur had made over thirty Hollywood Bs (a few now highly regarded, most completely forgotten) before directing the A-level Out of the Past, considered by some critics the pinnacle of classic noir. Movies with budgets a step up the ladder, known as "intermediates" within the industry, might be treated as A or B pictures depending on the circumstance—Monogram created a new unit, Allied Artists, in the late 1940s to focus on this sort of production. Such films have long colloquially been referred to as B movies. Robert Wise (Born to Kill [1947], The Set-Up [1949]) and Anthony Mann (T-Men [1947], Raw Deal [1948]) each made a series of impressive intermediates, many of them noirs, before graduating to steady work on big-budget productions. Mann did some of his finest work with cinematographer John Alton, a specialist in what critic James Naremore describes as "hypnotic moments of light-in-darkness." He Walked by Night (1948), shot by Alton and, though credited solely to Alfred Werker, directed in large part by Mann, demonstrates their technical mastery and exemplifies the late 1940s trend of "police procedural" crime dramas. Put out, like other Mann–Alton noirs, by the small Eagle-Lion company, it was the direct inspiration for the Dragnet series, which debuted on radio in 1949 and television in 1951.
Directors such as Samuel Fuller (Pickup on South Street [1953], Underworld U.S.A. [1961]), Joseph H. Lewis (Gun Crazy [1949], The Big Combo [1955]), and Phil Karlson (Kansas City Confidential [1952], The Brothers Rico [1957]) built now well-respected oeuvres largely at the B-movie/intermediate level. (Dalton Trumbo—like Dmytryk, one of the Hollywood Ten—wrote the Gun Crazy screenplay disguised by a front while still blacklisted.) The work of others such as Felix E. Feist (The Devil Thumbs a Ride [1947], Tomorrow Is Another Day [1951]) await critical rediscovery. Edgar G. Ulmer spent almost his entire Hollywood career working at B studios—once in a while on projects that achieved intermediate status; for the most part, on unmistakable Bs. In 1945, while at PRC, he directed one of the all-time noir cult classics, Detour. Ulmer's other noirs include Strange Illusion (1945), also for PRC; Blonde Ice (1948), distributed by tiny Film Classics; and Murder Is My Beat (1955), for Allied Artists.
A number of low and modestly budgeted noirs were made by independent, often actor-owned, companies contracting with one of the larger outfits for distribution. Serving as producer, writer, director, and "star," Hugo Haas made several such films, including Pickup (1951) and The Other Woman (1954). It was in this way that accomplished noir actress Ida Lupino became the sole female director in Hollywood during the late 1940s and much of the 1950s—her best-known film is The Hitch-Hiker (1953), developed by her company, The Filmakers, with support and distribution by RKO. It is one of the seven classic film noirs produced largely outside of the major studios that have been chosen to date for the United States National Film Registry. Of the others, one was a small-studio release: Detour. Four were independent productions distributed by United Artists, the "studio without a studio": Gun Crazy; Kiss Me Deadly; D.O.A. (1950), directed by Rudolph Maté; and Sweet Smell of Success (1957), directed by Alexander Mackendrick. One was an independent distributed by MGM, the industry leader: Force of Evil (1948), directed by Abraham Polonsky and starring John Garfield, both of whom would be blacklisted in the 1950s. Independent production usually meant restricted circumstances, but not always—Sweet Smell of Success, for instance, despite the original plans of the production team, was clearly not made on the cheap, though like many other cherished A-budget noirs it might be said to have a B-movie soul.
Perhaps no director better displayed that spirit than the German-born Robert Siodmak, who had already made a score of films before his 1940 arrival in Hollywood. Working mostly on A features, he made eight movies now regarded as classic film noirs (a figure matched only by Lang and Mann). In addition to The Killers, Burt Lancaster's debut and a Hellinger/Universal coproduction, Siodmak's other important contributions to the genre include 1944's Phantom Lady (a top-of-the-line B and Woolrich adaptation), the ironically titled Christmas Holiday (1944), and Cry of the City (1948). Criss Cross (1949), with Lancaster again the lead, exemplifies how Siodmak brought the virtues of the B-movie to the A noir. In addition to the relatively looser constraints on character and message at lower budgets, the nature of B production lent itself to the noir style for directly economic reasons: dim lighting not only saved on electrical costs but helped cloak cheap sets (mist and smoke also served the cause); night shooting was often compelled by hurried production schedules; plots with obscure motivations and intriguingly elliptical transitions were sometimes the consequence of scripts written in haste, not every scene of which was there always time or money to shoot. In Criss Cross, Siodmak achieves all these effects with purpose, wrapping them around Yvonne De Carlo, playing the most understandable of femme fatales, Dan Duryea, in one of his deliciously charismatic villain roles, and Lancaster—already an established star—as an ordinary joe turned armed robber, a romantic obsessive on a one-way road to ruin.
Film noir outside the United States
Some critics regard classic film noir as a cycle exclusive to the United States; e.g., Alain Silver and Elizabeth Ward: "With the Western, film noir shares the distinction of being an indigenous American form...a wholly American film style." Others, however, regard noir as an international phenomenon. Even before the beginning of the generally accepted classic period, there were movies made far from Hollywood that can be seen in retrospect as film noirs, for example, the French productions Pépé le Moko (1937), directed by Jules Duvivier, and Le Jour se lève (1939), directed by Marcel Carné.
During the classic period, there were many films produced outside the United States, particularly in France, that share elements of style, theme, and sensibility with American film noirs and may themselves be included in the genre's canon. In certain cases, the interrelationship with Hollywood noir is obvious: American-born director Jules Dassinmoved to France in the early 1950s as a result of the Hollywood blacklist, and made one of the most famous French film noirs, Rififi (1955). Other well-known French films often classified as noir include Quai des Orfèvres (1947), Le Salaire de la peur (released in English-speaking countries as The Wages of Fear) (1953) and Les Diaboliques (1955), all directed by Henri-Georges Clouzot; Casque d'or (1952) and Touchez pas au grisbi (1954), both directed by Jacques Becker; and Ascenseur pour l'échafaud (1958), directed by Louis Malle. French director Jean-Pierre Melville is widely recognized for his tragic, minimalist film noirs—Quand tu liras cette lettre (1953) and Bob le flambeur (1955), from the classic period, were followed by Le Doulos (1962), Le Samouraï (1967), and Le Cercle rouge (1970).
A number of thrillers produced in Great Britain during the classic period are also frequently referred to as film noirs, including Contraband (1940) and The Small Back Room (1949), directed by Michael Powell and Emeric Pressburger; Brighton Rock (1947), directed by John Boulting; They Made Me a Fugitive (1947), directed by Alberto Cavalcanti; and Cast a Dark Shadow (1955), directed by Lewis Gilbert. Terence Fisher directed several low-budget thrillers in a noir mode for Hammer Film Productions, including The Last Page (aka Man Bait; 1952), Stolen Face (1952), and Murder by Proxy (aka Blackout; 1954). Before leaving for France, Jules Dassin had been obliged by political pressure to shoot his last English-language film of the classic noir period in Great Britain: Night and the City (1950), though it was conceived in the United States and was not only directed by an American but also stars two American actors (Richard Widmark and Gene Tierney), is technically a UK production, financed by 20th Century-Fox's British subsidiary. The most famous of classic British noirs is director Carol Reed's The Third Man (1949), like Brighton Rock based on a Graham Greene novel. Set in Vienna immediately after World War II, it stars Joseph Cotten and Orson Welles, both prominent American actors who starred in U.S. film noirs; despite being a completely British production, the movie is sometimes discussed as if it is a classic Hollywood noir.
Elsewhere, Italian director Luchino Visconti adapted Cain's The Postman Always Rings Twice as Ossessione (1943), regarded both as one of the great noirs and a seminal film in the development of neorealism. (This was not even the first screen version of Cain's novel, having been preceded by the French Le Dernier tournant in 1939.) In Japan, the celebrated Akira Kurosawa directed several movies recognizable as film noirs, including Drunken Angel (1948), Stray Dog (1949), and High and Low (1963).
Among the first major neo-noir films—the term often applied to movies that consciously refer back to the classic noir tradition—was the French Tirez sur la pianiste (1960), directed by François Truffaut from a novel by one of the gloomiest of American noir fiction writers, David Goodis. Noir crime films and melodramas have been produced in many countries in the post-classic area, some of them quintessentially self-aware neo-noirs—for example, Il Conformista (1969; Italy), Der Amerikanische Freund (1977; Germany), The Element of Crime (1984; Denmark), As Tears Go By (1988; Hong Kong)—others simply sharing narrative elements and a version of the hardboiled sensibility associated with classic noir—The Castle of Sand (1974; Japan), Insomnia (1997; Norway), Croupier (1998; UK), Blind Shaft (2003; China).
Srivenkat Bulemoni
Wednesday, September 26, 2007
Crime film
A crime film, in its most general sense, is a film that deals with crime, criminal justice and the darker side of human nature. Stylistically, it can fall under many different genres, most commonly drama, thriller, mystery and film noir. Films focused on the Mafia are a typical example of crime films.
Adaptation
Crime films have been generally adapted from other forms of literature rather than written directly for the screen. What's seen as the bleak nature of some of these source materials often led some in the film industry to attempt to "lighten" the story when it was translated into film. Goodfellas is an example.
Gangster films typically focus on the power struggles within gangs rather than on the policemen who try to stop them. The most common storyline depicts an individual's rise to power within the organization, followed by his betrayal and murder by the gang or being killed by police. This story offers a moral message against crime, while also permitting the audience to vicariously enjoy the gangster's exploits.
Several famous examples of changing with the plot exist. One of them is Alfred Hitchcock's (1899 - 1980) film Suspicion (U.S., 1941), which is based on Francis Iles's novel Before the Fact (1932). Alterations of the plot are often due to external factors such as a particular actor's previous roles. While director Howard Hawks was filming The Big Sleep (1946), a classic example of film noir, Humphrey Bogart and his leading lady, Lauren Bacall, got married, which resulted in the studio exploiting -- and cashing in on -- their off-screen relationship by adding several scenes featuring the couple which are not based on Chandler's novel.
When the best-selling novel The Godfather was adapted for film, much of the dark elements were kept intact, while lighter subplots are left out.
There are also straightforward adaptations of crime and mystery novels. Sir Peter Ustinov is seen by many as the definitive Hercule Poirot in several films based on Agatha Christie's novels such as Death on the Nile, Evil Under the Sun, and Dead Man's Folly.
Such is the crime genre.
Crime fiction in television
The ever-increasing popularity of TV brought about the emergence of lots and lots of TV series featuring all sorts of detectives, investigators, special agents, lawyers, and, of course, the police. In Britain, The Avengers (1960s) about the adventures of gentleman agent John Steed and his partner, Emma Peel, achieved cult status. U.S. TV stations produced series such as 77 Sunset Strip (1958-1963); The Streets of San Francisco (1972-1977), starring Karl Malden and a young Michael Douglas; Kojak (1973-1978), with Telly Savalas playing the lolly-addicted police lieutenant; Charlie's Angels (1976-1981); Murder, She Wrote (starting in 1984), about the adventures of Cabot Cove-based mystery writer Jessica Fletcher, played by Angela Lansbury. In Germany, Derrick became a household word.
Crime plays and films
Generally, lots of films dealing with crime and its detection are based on plays rather than novels. Agatha Christie's stage play Witness for the Prosecution was adapted for the big screen by director Billy Wilder in 1957. The film starred Marlene Dietrich and Charles Laughton and is a classic example of a "courtroon drama". In a courtroom drama, a charge is brought against one of the main characters, who says that they are innocent. Another major part is played by the lawyer representing the defendant in court and battling with the public prosecutor. He or she may enlist the services of a private investigator to find out what really happened and who the real perpetrator is. But in most cases it is not clear at all whether the accused is guilty of the crime or not -- this is how suspense is created. Very often, the private investigator storms into the courtroom at the very last minute in order to bring a new and crucial piece of information to the attention of the court. For obvious reasons, this type of literature lends itself to the literary genre of drama: There is a lot of dialogue and little or no necessity for a shift in scenery: The auditorium of the theatre becomes an extension of the courtroom. When a courtroom drama is filmed, the traditional device employed by screenwriters and directors is the frequent use of flashbacks, in which the crime and everything that led up to it is narrated and reconstructed from different angles.
In Witness for the Prosecution, Leonard Vole, a young American living in England, is accused of murdering a middle-aged lady he met in the street while shopping. His wife hires the best lawyer available because she is convinced, or rather she knows, that her husband is innocent. Another classic courtroom drama is U.S. playwright Reginald Rose's Twelve Angry Men (1955), which is set in the jury deliberation room of a New York Court of Law. Eleven members of the jury, aiming at a unanimous verdict of "guilty", try to get it over with as quickly as possible. And they would really succeed in achieving their common aim if it were not for the eighth juror (played by Henry Fonda in the 1957 movie adaptation), who, on second thoughts, considers it his duty to convince his colleagues that the defendant may be innocent after all, and who, by doing so, triggers a lot of discussion, confusion, and anger.
Srivenkat Bulemoni
Adaptation
Crime films have been generally adapted from other forms of literature rather than written directly for the screen. What's seen as the bleak nature of some of these source materials often led some in the film industry to attempt to "lighten" the story when it was translated into film. Goodfellas is an example.
Gangster films typically focus on the power struggles within gangs rather than on the policemen who try to stop them. The most common storyline depicts an individual's rise to power within the organization, followed by his betrayal and murder by the gang or being killed by police. This story offers a moral message against crime, while also permitting the audience to vicariously enjoy the gangster's exploits.
Several famous examples of changing with the plot exist. One of them is Alfred Hitchcock's (1899 - 1980) film Suspicion (U.S., 1941), which is based on Francis Iles's novel Before the Fact (1932). Alterations of the plot are often due to external factors such as a particular actor's previous roles. While director Howard Hawks was filming The Big Sleep (1946), a classic example of film noir, Humphrey Bogart and his leading lady, Lauren Bacall, got married, which resulted in the studio exploiting -- and cashing in on -- their off-screen relationship by adding several scenes featuring the couple which are not based on Chandler's novel.
When the best-selling novel The Godfather was adapted for film, much of the dark elements were kept intact, while lighter subplots are left out.
There are also straightforward adaptations of crime and mystery novels. Sir Peter Ustinov is seen by many as the definitive Hercule Poirot in several films based on Agatha Christie's novels such as Death on the Nile, Evil Under the Sun, and Dead Man's Folly.
Such is the crime genre.
Crime fiction in television
The ever-increasing popularity of TV brought about the emergence of lots and lots of TV series featuring all sorts of detectives, investigators, special agents, lawyers, and, of course, the police. In Britain, The Avengers (1960s) about the adventures of gentleman agent John Steed and his partner, Emma Peel, achieved cult status. U.S. TV stations produced series such as 77 Sunset Strip (1958-1963); The Streets of San Francisco (1972-1977), starring Karl Malden and a young Michael Douglas; Kojak (1973-1978), with Telly Savalas playing the lolly-addicted police lieutenant; Charlie's Angels (1976-1981); Murder, She Wrote (starting in 1984), about the adventures of Cabot Cove-based mystery writer Jessica Fletcher, played by Angela Lansbury. In Germany, Derrick became a household word.
Crime plays and films
Generally, lots of films dealing with crime and its detection are based on plays rather than novels. Agatha Christie's stage play Witness for the Prosecution was adapted for the big screen by director Billy Wilder in 1957. The film starred Marlene Dietrich and Charles Laughton and is a classic example of a "courtroon drama". In a courtroom drama, a charge is brought against one of the main characters, who says that they are innocent. Another major part is played by the lawyer representing the defendant in court and battling with the public prosecutor. He or she may enlist the services of a private investigator to find out what really happened and who the real perpetrator is. But in most cases it is not clear at all whether the accused is guilty of the crime or not -- this is how suspense is created. Very often, the private investigator storms into the courtroom at the very last minute in order to bring a new and crucial piece of information to the attention of the court. For obvious reasons, this type of literature lends itself to the literary genre of drama: There is a lot of dialogue and little or no necessity for a shift in scenery: The auditorium of the theatre becomes an extension of the courtroom. When a courtroom drama is filmed, the traditional device employed by screenwriters and directors is the frequent use of flashbacks, in which the crime and everything that led up to it is narrated and reconstructed from different angles.
In Witness for the Prosecution, Leonard Vole, a young American living in England, is accused of murdering a middle-aged lady he met in the street while shopping. His wife hires the best lawyer available because she is convinced, or rather she knows, that her husband is innocent. Another classic courtroom drama is U.S. playwright Reginald Rose's Twelve Angry Men (1955), which is set in the jury deliberation room of a New York Court of Law. Eleven members of the jury, aiming at a unanimous verdict of "guilty", try to get it over with as quickly as possible. And they would really succeed in achieving their common aim if it were not for the eighth juror (played by Henry Fonda in the 1957 movie adaptation), who, on second thoughts, considers it his duty to convince his colleagues that the defendant may be innocent after all, and who, by doing so, triggers a lot of discussion, confusion, and anger.
Srivenkat Bulemoni
Monday, September 17, 2007
Feature Film Genres, Moods and Formats
Film genre
In film theory, genre refers to the primary method of film categorization. A "genre" generally refers to films that share similarities in the narrative elements from which they are constructed.
Categorizing film genres
Three main types are often used to categorize film genres; setting, mood, and format. The film's location is defined as the setting. The emotional charge carried throughout the film is known as its mood. The film may also have been shot using particular equipment or be presented in a specific manner, or format.
The following are some examples of well-established genres in film. They are often further defined to form subgenres, and can also be combined to form hybrid genres.
Crime: places its character within realm of criminal activity.
Film noir: portrays its principal characters in a nihilistic and existentialist realm or manner.
Historical: taking place in the past amidst notable historical circumstances.
Science fiction: a setting or plot defined by the effects of speculative (not yet existing) technology (i.e. future space travel, cyberpunk, time travel).
Sports: sporting events and locations pertaining to a given sport.
War: battlefields and locations pertaining to a time of war.
Westerns: wilderness on the verge of civilization, usually in the American West.
Mood
Action: generally involves a moral interplay between "good" and "bad" played out through violence or physical force.
Adventure: involving danger, risk, and/or chance, often with a high degree of fantasy.
Comedy: intended to provoke laughter.
Drama: mainly focuses on character development.
Fantasy: speculative fiction outside reality (i.e. myth, legend).
Horror: intended to provoke fear in audience.
Mystery: the progression from the unknown to the known by discovering and solving a series of clues.
Romance: dwelling on the elements of romantic love.
Thrillers: intended to provoke excitement and/or nervous tension into audience.
Format
Animation: the rapid display of a sequence of 2-D artwork or model positions in order to create an illusion of movement.
Live action
Documentary
Musical: songs are sung by the characters and interwoven into the narrative.
Target audience
Children's film: films for young children; as opposed to a family film, no special effort is made to make the film attractive for other audiences.
Family film: intended to be attractive for people of all ages and suitable for viewing by a young audience. Examples of this are Disney films.
Adult film: intended to be viewed only by an adult audience, content may include violence, disturbing themes, obscene language, or explicit sexual behavior. Adult film may also be used as a synonym for pornographic film.
Srivenkat Bulemoni
In film theory, genre refers to the primary method of film categorization. A "genre" generally refers to films that share similarities in the narrative elements from which they are constructed.
Categorizing film genres
Three main types are often used to categorize film genres; setting, mood, and format. The film's location is defined as the setting. The emotional charge carried throughout the film is known as its mood. The film may also have been shot using particular equipment or be presented in a specific manner, or format.
The following are some examples of well-established genres in film. They are often further defined to form subgenres, and can also be combined to form hybrid genres.
Crime: places its character within realm of criminal activity.
Film noir: portrays its principal characters in a nihilistic and existentialist realm or manner.
Historical: taking place in the past amidst notable historical circumstances.
Science fiction: a setting or plot defined by the effects of speculative (not yet existing) technology (i.e. future space travel, cyberpunk, time travel).
Sports: sporting events and locations pertaining to a given sport.
War: battlefields and locations pertaining to a time of war.
Westerns: wilderness on the verge of civilization, usually in the American West.
Mood
Action: generally involves a moral interplay between "good" and "bad" played out through violence or physical force.
Adventure: involving danger, risk, and/or chance, often with a high degree of fantasy.
Comedy: intended to provoke laughter.
Drama: mainly focuses on character development.
Fantasy: speculative fiction outside reality (i.e. myth, legend).
Horror: intended to provoke fear in audience.
Mystery: the progression from the unknown to the known by discovering and solving a series of clues.
Romance: dwelling on the elements of romantic love.
Thrillers: intended to provoke excitement and/or nervous tension into audience.
Format
Animation: the rapid display of a sequence of 2-D artwork or model positions in order to create an illusion of movement.
Live action
Documentary
Musical: songs are sung by the characters and interwoven into the narrative.
Target audience
Children's film: films for young children; as opposed to a family film, no special effort is made to make the film attractive for other audiences.
Family film: intended to be attractive for people of all ages and suitable for viewing by a young audience. Examples of this are Disney films.
Adult film: intended to be viewed only by an adult audience, content may include violence, disturbing themes, obscene language, or explicit sexual behavior. Adult film may also be used as a synonym for pornographic film.
Srivenkat Bulemoni
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