Deep Singh Munde – 13Y
Independent Study – Mr. Bush
"Does the neo-noir genre represent women and does it continue to follow the style of the classic film noir genre, with particular reference to ‘Sin City’ (2005)"
‘Film Noir’ is a French term for ‘Black Film’ due to the Chiaroscuro lighting originated from the aesthetics influenced by German Expressionism, a cinematic movement from the 1910’s and 1920’s. Where ‘Neo Noir’ (from the Greek “neo”, new; and the French “noir”, black) uses elements of Film Noir, but with updated themes, content and mise-en-scene.
According to Douglas Pye (1975), “Generic consistency allows for the shorthand of conventions and stereotypes”. The use of the femme fatale within ‘The Big Sleep’ (1946) and ‘Sin City’ (2005) allows for the confirmed convention and stereotypical roles played by women from the beginning of the Film Noir genre – 1940’s to the most recent ‘Neo-noir’ film, ‘Sin City’ (2005).
The 1940’s saw ‘Film Noir’ emerge, a period at which World War 2 was in effect, “Thomas Schatz suggests that the dark visual style of film noir reflected, “progressively darkening cultural attitudes during and after the war” [1]. The narrative structure was non-linear, being rather complex, with the use of flashbacks emphasising the Zeitgeist where societies life deemed complex, irrational and paranoid. Richard Maltby explains that, “Zeitgeist theory of film as cultural history… explains the pessimism, cynicism, violence and paranoia that typifies films noirs as a reflection or, more accurately, an articulation of the cultural and social mood of post-war America; a mood that was itself pessimistic, cynical, violent and paranoid.” [2] Where Carmen, within ‘The Big Sleep’ (1946) has to be put into a psychiatric hospital due to the fact that Marlowe doesn’t turn her into the police for the murder of Regan. This emphasises how societies attitude at the time, was reflected within almost every ‘Film Noir’, where as in comparison ‘Sin City’ (2005) doesn’t reflect societies attitude rather it being a more fictional narrative and film.
The narrative structure was often, “non-linear and twisting”, [3] and was, “frequently complex, maze-like and convoluted”, which added to the psychological aspect of the films. The use of, “series of flashbacks” [4] allowed for enigmas to be created for the audience who were always left asking questions. “Witty, razor-sharp… dialogue”, was typical of the genre and was expected. “Reflective and confessional, first-person voice-over narration” [5], sutured the audience into the film where they could identify and understand the protagonist.
The characteristics and conventions that are associated with the ‘Film Noir’ genre were shaped by the ‘Expressionists’ which made up for the lack of large budgets which could have been used for special effects and technological equipment. The lack of budgets, “allowed individual genius to flourish in all its artistic and technical areas”[6], to compensate for small budgets; in effect this was good for the genre to develop it’s own self-made style. Where by ‘The Big Sleep’ (1946) uses candle light to create drastic shadows which would have never have been created if not for the mediocre budgets.
The very first ‘Expressionist’ films had set designs, which were very unrealistic, and geometrically unusual however, as time progressed, the mise-en-scene was used moreover to create suspense with its connotations, which were read by the audience. The use of cigarettes have become an icon of both the ‘Femme Fatale’ and the ‘Anti-hero’ within the ‘Film Noir’ genre and is carried over to the ‘Neo Noir’ genre, within ‘Sin City’ (2005), and ‘The Big Sleep’ (1946) uses both the protagonist and ‘Femme Fatale’ within the opening scene smoking cigarettes.
The silent film, ‘Das Cabinet des Dr. Caligari’ (1920) is a groundbreaking film, which, is known as one of the first true ‘Expressionist’s’ films, which in turn, also never had a large budget. The roots of film noir can be found in, ‘Das Cabinet des Dr. Caligari’ (1920) with the use of, “their stark camera angles and movements, chiaroscuro lighting and shadowy, high-contrast images” [7] ,which are all elements of later dated film noir. The ‘Dutch angle’ has been synonymous with ‘Film Noir’ from the 1920’s in such films.
As these films were directed and constructed by creative individuals, ‘Auteur theory’ can be applied as the stylistic and ideological treatment of a film. Although the view of genre and the auteur are often seen to be antithetical where, “the former emphasizing the recurrent patterns of popular society” [8], which can be seen as a generic label which may be too narrow in a sense, where as, “the latter celebrating the unique ‘signature’ of the individual artist able to ‘transcend’ generic formulae”[9], show’s how an ‘Auteur’ can transform and perhaps can develop genre ideology. The style of ‘Neo-Noir’ in the case of ‘Sin City’ (2005) is dependant on both the genre and auteur. The genre puts emphasis on the black and white effect, witty banter, femme fatale, anti-hero and geometrically unusual backgrounds. Where as in comparison to both auteurs’ – Rodriguez and Tarentino both input witty banter, excessive blood spills, psychological thought from characters, which all together are similar qualities that originate from the genre.
The plots of these early Expressionist films, “at base a highly stylised treatment of contemporary social and human conditions” [10] often dealing with issues of madness, insanity, betrayal that were often about crime as opposed to the standard Hollywood film of action-adventure or romance. These intellectual storyline’s came from, “a fan base which included scholars” [11] which can be identified as perhaps originating from a ‘public sphere’ where intellectuals would meet, most notably in large coffee houses to discuss and debate.
A ‘B Movie Status’ may have been the reason for the term, ‘Neo-Noir’ to emerge due to the fact that, “the term “film noir” had crept into critical discourse”. [12] By the 1970’s new motion pictures such as American crime dramas or psychological thrillers were compared to the ‘Film Noir’ genre. These crime dramas and thrillers would then later be labelled as ‘Neo-Noir’. However, the key difference was the fact that ‘Neo-Noir’ films were aware of the modern and technological position that they were in where by they were accessible, which was absent from the classic ‘Film Noir’ genre. The modern position in which newer ‘Neo Noir’ films were able to use new technology such as CGI which was used heavily in creating one of the first fully digital films – ‘Sin City’ (2005). The newer ‘Neo-noir’ films had such a comparison due to films like ‘Sin City’ (2005), which was created in black and white with digital colour enhancements. The use of new technology may have seen this new genre emerge as a fully digital colour ‘Noir’ film, however directors, Robert Rodriguez and guest director Quentin Tarentino remained faithful to the comic book adaptation and ‘Noir’ style.
Additionally, similar character roles are present within the ‘Neo-Noir’ genre, two of which could be identified as the ‘Anti-hero’ and the ‘Femme Fatale’, which are key to the genre, which further enforced the comparisons, made to ‘Film-Noir’. The ‘Anti-hero’ role was clearly played by Humphrey Bogart in ‘The Big Sleep’ (1946) and a variety of three male protagonists within the ‘Neo-Noir’ film ‘Sin City’ (2005). Although, the more stereotypical ‘anti-hero’ is played by Bruce Willis known as ‘Hartigan’ in ‘Sin City’ (2005) who can be identified as the most stereotypical detective in comparison to Philip Marlowe played by Humphrey Bogart.
The ‘Anti-hero’ or, “Noir hero is a complicated character, often possessing distinctly unheroic qualities” [13] however, he still gains the sympathy of the audience and can be identified with. The ‘Anti-hero’ is conflicted, usually trapped in a difficult situation and he may have to make choices out of desperation and moral panic largely down to the ‘Femme Fatale’. The majority of audience would be able to idealize the hero, even if he were to be an ‘Anti-hero’ as he is the hero – he wields power which allows the audience to gain a sense of spectatorship.
World War 2 gave women newfound independence and better job-earning power, however they would suffer on the screen in these films of the 40’s (Film-Noir), as the rise of the ‘Femme Fatale’ would appear. The phrase, “Femme Fatale” means Fatal Women in French. In example, ‘The Lady from Shanghai’ (1948) is a film noir where by the ‘Femme Fatale’ uses her female innocence to persuade the male character that she is a victim.
The ‘Femme Fatale’ is known to be, “double-crossing… unreliable, irresponsible… manipulative” [14] which places men into a sense of illusion and false pretence, where by the male is subjected to the ‘female gaze’, which places them into often compromising and dangerous situations where by they are forced to make difficult decisions. Lauren Bacall plays the role of the ‘Femme Fatale’ in ‘The Big Sleep’ (1946) and has become known for her roles as a ‘Femme Fatale’.
Perhaps the reason as to why the ‘Femme Fatale’ is overtly sexually active and sexually appealing is due to the fact that, ‘The projection of those libidinous (driven by lust) cravings, which, since they are forbidden, must always prove fatal’. [15] Psychologically, the ‘Femme Fatale’ is, “the figure of a certain discursive unease, a potential epistemological trauma” [16] which may be an underlining subconscious thought of men. Furthermore the ‘Femme Fatale’ can be interpreted as a symptom of one of the male anxieties about women, “a creature who threatens to castrate and devour her male victim”[17], shows the psychological sub conscious mind set of men which could be the reason as to why men need to project their own issues and faults onto women in order to make them feel inferior. Within ‘Sin City’ (2005), Hartigan castrates ‘the Yellow Bastard’ and then kills him. Although a male may have castrated another male, this shows how within the subconscious psyche, the penis wields a great sense of importance and power.
However, Robert Stam identifies four key problems with generic labels in film. First of all, ‘Extension’ is where the narrow set ideologies to a certain label may not be open to associate it with anything else. ‘Normativism’ is where preconceived ideas of criteria for genre are immediately thought of which may lead to stereotypes of a genre. Monolithic definition is where certain items only belong to one genre, which may lead to stereotyped items and leaves audiences expecting something else due to a single object. Lastly, ‘Biologism’ is where genres are seen as evolving through a standardized life cycle which may be the case with ‘Film Noir’ evolving due to technological and economical developments into a new genre; ‘Neo-Noir’.
The generic label placed on women as a whole has lead women within films and in life to be seen as inferior to men due to the patriarchal society mind set, where men are seen and known as the bread winners, where by women are mothers and must take care of the home. Additionally, psychologically women are also thought to be incomplete without a penis as it symbolizes power – they are of ‘penis envy’, “Women are represented as ‘not-man’”[18], which simply places women as being known as ‘the other’. As Freudian theory circulates for decades, a ‘myth’ begins to form, this is where people are told something enough times they begin to believe it as the truth (Roland Barthes theory). Within ‘Sin City’ (2005) it appears that women are featured for the sole purpose - to be objectified as they have the ‘to-be-looked-at-ness’ quality, which is used to appeal to the male audience.
Laura Mulvey’s ‘Visual Pleasure and Narrative Cinema’ essay talks about ‘power relationships’ [19], which can be seen as the person who has the gaze, is in power, as the subject doesn’t know that they are being watched. As the protagonist is usually a male within both ‘Noir’ genres, the audience see through the males perspective, meaning the audience identify with the male protagonist thus enforcing the dominance of males over women as the male protagonist ‘watches’ a female which leads to inevitable objectification as is the case in today’s society. As women are sexually objectified, sub consciously women now use it as, ‘part of the psycho-femme armoury’ [20] (pg. 165) as armoury in order to gain what they desire from men who may be in a position to give them what they need or want.
Furthermore, “From a psychoanalytic perspective… the construction of women characters in film noir to male anxieties which centre on a sexually-aggressive figure of womanhood, who represents the threat of castration” [21] provokes men into the thought of having to suppress women. In example, Nancy Callahan played by Jessica Alba dances around a pole within a bar; the pole in this instance is the phallic object, which completes her as she is of ‘penis envy’ – where by she is now complete with this phallic symbol. This scene somewhat shows that Jessica Alba is clearly only in ‘Sin City’ (2005) to be objectified, which supports the idea of women being subordinate to men where by they play passive roles within films and perhaps also life. Additionally, within ‘The Big Sleep’ shows a bookshop worker having to take off her glasses and untie her hair in order for the protagonist Humphrey Bogart to find her attractive, it appears to seem that he ‘loves her, then leaves her’ which represents women as sex objects. Chiaroscuro lighting is also used in ‘Sin City’ (2005) to enforce the ideology of women having to be skinny in order to be attractive, lighting is, “attractively lit to accentuate the lines of her body”[22] which may conform the ‘Size Zero’ issue and debate which is due to the fact that ‘’Sin City’ (2005) is a contemporary text and reflecting the Zeitgeist.
‘Sin City’ (2005) has more women in dominant roles when compared to ‘Film-Noir’ texts. For example, the prostitutes within ‘Sin City’ (2005) are independent and don’t have pimps ruling over them, although they may be prostitutes, it’s perhaps for the comic book adaptation purpose only. However, as they are prostitutes and are prone to trouble, they do need Marv played by Mickey Rourke to save them, which perhaps does enforce stereotypical roles of women and men, where by the male has to save the women from danger. Additionally as within ‘Sin City’ (2005) where Hartigan commits suicide in order to ensure Nancy’s safety. Within a patriarchal society, “A cultural practice representing myths about women and femininity”[23] are created and believed although perhaps untrue, where women aren’t as inferior as they are presented within films.
Immediately after World War 2 Dr. Benjamin Spock’s ‘Baby and Child Care’ book registered shifting American attitudes of, “Returning men and women to traditional familial roles”, as “The restoration of an ideal family relations premised on female domesticity and the man’s role as breadwinner” [24] had to be returned to what was deemed to be status quo. However, a psychological view as to why women are actually being objectified may be because men, as a gender need to project their weaknesses onto women in order for themselves to direct their own problems to create an ideology that women have these problems and men help women to overcome them. Perhaps, the reason that men see women as castrated is that they themselves need to be castrated to free themselves; in order to be complete, “Issues of masculinity are central to Film Noir, which they see as dramatising and exploring ‘a particular crisis in male masculinity’”[25]. As the Film Noir genre is heavily male orchestrated and a male detective protagonist leads all films this may be the reason as to why the crisis is central to ‘Film Noir’, which can also be seen as to why women don’t have active roles within films.
In conclusion, ‘Sin City’ (2005) does continue to follow the same representations of women as, ‘The Big Sleep’ (1946) where women are objectified and remain passive. Where as on a psychoanalytic basis, women must wield a phallic symbol in order for them to be complete, such is the case in ‘Sin City’ where by Jessica Alba is pole dancing. Additionally, the style remains very similar in terms of ‘Auteur theory’ where by both ‘Film Noir’ and ‘Neo-Noir’ films have the director’s style embedded into the film. Technological advances have also helped create digital black and white films, rather than digital colour ‘Neo-Noir’s’ which illustrate that the genre is remaining close to ‘Film-Noir’ style.
2689 Words
Works Cited
Books
[1] Chopra-Gant, Mike (2006) pg. 3
[2] Chopra-Gant, Mike (2006) pg. 3
[6] Palmer, R. Barton (1994) pg. VII (beginning of book)
[8] Spicer, Andrew (2002) pg. 105
[9] Spicer, Andrew (2002) pg. 105
[10] Chopra-Gant, Mike (2006) pg. 3
[11] Neale, Steve (2002) pg. 254
[12] Chopra-Gant, Mike (2006) pg. 177
[13] Chopra-Gant, Mike (2006) pg. 157
[15] Kaplan, E. Ann (1999) pg. 164
[16] Doane, Mary Ann (1991) pg.1
[17] Spicer, Andrew (2002) pg. 90
[18] Johnston, Claire (1991) pg. 25
[20] Kaplan, E. Ann (1999) pg. 165
[21] Chopra-Gant, Mike (2006) pg. 163
[22] Spicer, Andrew (2002) pg. 91
[23] Cook, Pam & Bernink, Mieke (1999) pg. 353
[24] Chopra-Gant, Mike (2006) pg. 66
[25] Kaplan, E. Ann (1999) pg. 3
Websites
[3] http://www.filmsite.org/filmnoir.html
[4] http://www.filmsite.org/filmnoir.html
[5] http://www.filmsite.org/filmnoir.html
[7] http://www.filmsite.org/filmnoir.html
[14] http://www.filmsite.org/filmnoir.html
Works (Sheets – need to find out book it comes from)
[19] Laura Mulvey – ‘Visual Pleasure and Narrative Cinema’
Work Consulted
http://en.wikipedia.org/wiki/German_Expressionism
The Essential Word Dictionary [what book is it from?]
Bibliography
Cook, Pam & Bernink, Mieke (1999): ‘The Cinema Book’. London: BFI.
Chopra-Gant, Mike (2006):’Hollywood Genres and Postwar America: Masculinity, Family and Nation in Popular Movies and Film Noir’. London: I.B. Tauris & Co Ltd.
Doanne, Mary Ann (1991): ‘Femme Fatales: Feminism, Film Theory, Pyschoanalysis’. London: Routledge, Chapman and Hall, Inc.
Johnston, Claire (1991): ‘Women’s cinema as counter-cinema’. Glasgow: SEFT.
Kaplan, E. Ann (1999): ‘Women in Film Noir’. London: BFI.
Neale, Steve (2002): ‘Genre and Contemporary Hollywood ’. London: BFI.
Palmer, R. Barton (1994): ‘Hollywood’s Dark Cinema: The American Film Noir’. New York: Twayne Publishers.
Spicer, Andrew (2002): ‘Film Noir’. Essex: Pearson Education Limited.
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Laura Mulvey – ‘Visual Pleasure and Narrative Cinema’ - ?
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