As I've explained to the most of you, this project is going to be largely based off of Film Noir - stylistically and thematically. But what does film noir represent, and more importantly, what does it mean for this photo exhibit?!
My aim in this photo exhibit is to conjure mystery within the frame. What is going on between the characters? What's occurring (generally outside the photo frame) to cause this unusual moment? I.e. Are two characters in a passionate embrace, or is one of them fighting to get out of a struggle? I want to conjure this mystery using you's guys expressions and body language, as well as the setting of the scene and the surrounding environment. I believe the style and themes embodied in Film Noir do an excellent job at highlighting and accentuating this mystery which is why I've chosen to use it.
Film Noir first began in the 1920's but didn't really take off until the second world war. Raymond Chandler popularized the 50's pulp novel with titles such as The Big Sleep and Farewell, My Lovely. He was eventually hired to write the screenplays for several noir films.
Noir Themes
Noir is the epitome of existentialism, risky liaisons, and distrust.
The protagonist, generally male, must fight his way through a series of inconceivable scenarios, through which a series of blunderous events and generally a murder or two the protagonist comes out alive, but just barely. The sexieness of the protagonist exists in his ability to improvise solutions to impossible situations, as well as the risky scenarios and shady characters that gravitate towards him. He is an alcoholic but not a drunk, a chain smoker, he's always self employed, and generally a private eye, and he always has a witty comeback (not Sean Connery style, Humphrey Bogart style).
The antagonist is generally female - the femme fatale. She's a powerful, sexy, and highly manipulative being. The femme fatale is generally the orchestrator of the whole bizarre scenario, and dupes the protagonist to help her, all the while planning to use the protagonist to protect her/ get her money/ bring her fame, which generally means she intends for the protagonist to die, and generally to be the killer! She is beautiful, always impeccably dressed, a smooth talker, smokes and drinks but never in excess, and generally never has enough money to satisfy her.
The antagonist never wins, the protagonist is always smarter, and, while the antagonist doesn't succeed, she never dies or gets locked up for her transgressions. The protagonist and antagonist may couple up during the film (usually to facilitate the femme fatale orchestrating her plan), but by the end the protagonist has slapped the antagonist (literally!) and they two part ways. As you can see, there is a highly gendered aspect to film noir. I am hoping to exploit this trend by highlighting noir gender conventions and turning them directly on their head.
Noir is existential because it features a self-perpetuating cycle of risk and shady characters the protagonist can never escape. The protagonist is never content at the end of the film, he generally just walks away from the camera with a lit cigarette, waiting for the next crazy person or event to cross his path, and grabs a drink.
Noir Imagery:
Noir Themes
Noir is the epitome of existentialism, risky liaisons, and distrust.
The protagonist, generally male, must fight his way through a series of inconceivable scenarios, through which a series of blunderous events and generally a murder or two the protagonist comes out alive, but just barely. The sexieness of the protagonist exists in his ability to improvise solutions to impossible situations, as well as the risky scenarios and shady characters that gravitate towards him. He is an alcoholic but not a drunk, a chain smoker, he's always self employed, and generally a private eye, and he always has a witty comeback (not Sean Connery style, Humphrey Bogart style).
The antagonist is generally female - the femme fatale. She's a powerful, sexy, and highly manipulative being. The femme fatale is generally the orchestrator of the whole bizarre scenario, and dupes the protagonist to help her, all the while planning to use the protagonist to protect her/ get her money/ bring her fame, which generally means she intends for the protagonist to die, and generally to be the killer! She is beautiful, always impeccably dressed, a smooth talker, smokes and drinks but never in excess, and generally never has enough money to satisfy her.
The antagonist never wins, the protagonist is always smarter, and, while the antagonist doesn't succeed, she never dies or gets locked up for her transgressions. The protagonist and antagonist may couple up during the film (usually to facilitate the femme fatale orchestrating her plan), but by the end the protagonist has slapped the antagonist (literally!) and they two part ways. As you can see, there is a highly gendered aspect to film noir. I am hoping to exploit this trend by highlighting noir gender conventions and turning them directly on their head.
Noir is existential because it features a self-perpetuating cycle of risk and shady characters the protagonist can never escape. The protagonist is never content at the end of the film, he generally just walks away from the camera with a lit cigarette, waiting for the next crazy person or event to cross his path, and grabs a drink.
Noir Imagery:
Noir is filmed in black and white and features heavy shadows and high contrast. Shadows are a key element - characters are deliver entire scenes in silhouette, or are cast in stark shadows from venetian blinds (generally symbolizing their entrapment in the sinister plot and a general life of rist, the bars like a prison... how existential!). These themes of stripes and geometric and dark colours also make it into the costumes. The femme fatale is almost always wearing dark colours, and a lot of the time her clothing is stripped (again, symbolizing entrapment, which she is the orchestrator of!)
The scenes are highly stylized - it is evident every detail has been thought out, every scene highly choreographed. This is part of the charm and drama of Noir. The dialogue is hokey and generally unbelievable, characters are way too suave and are almost caricatures of themselves, and blocking is overly dramatic and helps to emphasize the almost dream-like state within which the characters interact.
Costume:
Men: 1) hats - felt, brimmed, ribboned, ie. fedoras with wide brims or a trilby, 2) suits - 2piece or 3piece, single breasted unless a rich or powerful person in which it can be double breasted, 3) shoes - leather, 4) ties - long and wide, dark, solids and stripes, tied real short to at the belt 5) accessories - watch fobs, watches, rings, gilded lighters,
Women:1) hats - all sorts: fascinators, fedoras, berets, panamas, scarves, turbans, boaters, all shapes and sizes and materials, 2) dresses - silk, chiffon, flowy fabrics that have been given internal construction, geometrically patterned or a single colour, generally not florals, 3) one-piece-suits - yes! 4) pants - high-waisted, tailored, cotton, wool, 5) tops - sheer blouses, patterned blouses, buttons in front or back, bandeaus, strips, pokadots, bold colours! 6) Shoes - kitten, mid and high-heeled, rounded toes (no pointed toes), mary janes, 7) Accessories - big gilded rings and bracelets,
