Cine

El Cine Negro
Tienen que Sunset Boulevard, The lady of Shanghai, The night of the hunter
DIAPOS INTRODUCTORIAS
DIAPO: QUE ES EL CINE NEGRO
A term applied by French critics in 1946 to a group of u.s. films made during the war and released abroad in quick succession after 1945.
Noir means "black" or "dark" but can also imply "gloomy." Less a genre than a stylis­tic and narrative tendency,film noir is often considered to have started in 1941 with Huston's The Maltese Fal­con or even earlier with RKO's B filmStranger on the Third Floor (1940, Boris Ingster).
Most films noirs involve crime, but the tendency crosses genres.
It includes social problem films like Wilder's The Lost Weekend and spy films like Lang's Ministry of Fear (1944). The film oair tendency derived from the Americanhard-boiled detective novel, which originated in the
Filmic influences came from German Expressionism, French Poetic Realism and the stylis­tic innovations of Citizen Kane.
Like their literary models, films noirs were mainly aimed at male audiences.
Their protagonists are almost invariably men, usually detectives or criminals charac­terized by pessimism, self-doubt, or a cold, detached viewof the world.
Women are usually sexually alluring but treacherous, leading the protagonists into danger or using them for selfish ends.
A common setting for a film noir would be a big city, especially at night; shiny, rain­slicked pavements, dark alleyways, and sleazy bars are common milieux.
Many of the films use distinctive high and low angles, low-key lighting, extreme wide-angle lenses,and location shooting, though some films noirs contain few of these traits.
Film noir's debt to German film of the 1920s may be reflected in the fact that four important emigres worked extensively in this tendency. Fritz Lang's Dr. Mabuse der Spieler, M, and other German works anticipated film oir, and his Hollywood career developed this tendency.
In Ministry of Fear (1944,) Tras dos años dereclusión, Stephen Neale abandona el sanatorio mental de Lembridge. Se encuentra entonces con un mundo distinto que nada tiene que ver con lo que él conocía. A su alrededor todo resulta inexplicable, sobre todo, el ser víctima de una persecución por parte de agentes del nazismo. Pero, cuando Stephen decide contarle a otras personas lo que le sucede, lo único que consigue es que piensen que está loco.Lang's association with independent producer Walter Wanger led to two other notable wartime films noirs: Woman in the Window (1944) and Scarlet Street (1945).
Robert Siodmak began making B films in Hollywood in 1941, achieving a reputation in film noir in 1944 with Phantom Lady and The Suspect (1945); after the war he would lead this tendency with such films as The Killers (1946).
AnotherGerman emigre, Otto Preminger, rose to fame with a major film noir. Laura (1944) concerns an embittered working-class detective who investigates the murder of a sophisticated advertising executive and falls in love with her through her diary and portrait.
Laura's flashbacks, apparent dream sequence, and plot twists are an extreme case of filmnoir narration.
Perhaps the defintive war time exampleof the film noir came from yet another emigre. The script for Billy Wilder's Double Indemnity (1944) originated in a unique combination of hard-boiled authors, with Raymond Chandler adapting a James McCain novel.
A woman seduces an insurance salesman into helping her murder her husband; gradually the scheme unravels in mutual suspicions and betrayals.
The film unfolds in a series offlashbacks as the dying salesman speaks into a dictaphone, confessing to his friend, an insurance investigator who is hot on his trail.
Many typical traits of the film noir are present: the venality of both the main characters, the voice-over narration by the insurance sales­man, the somber urban setting, and the doomed romance.
(Film noir was the one type of Hollywood film that permitted an unhappy...