Sin City

Independant Study - Final Draft

2008-05-02T08:25:00.001+01:00

Deep Singh Munde – 13Y
Independent Study – Mr. Bush

“I don't care... just gimme the woman!” – Dwight, Sin City (2005), "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 "

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. This essay will begin to consider whether Sin City does represent women and use aspects of the classic noir style to create a, “difference in repetition” (Steven Neale; 1980)

               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 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 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 narrative structure of Sin City can be seen as twisting, the film is divided into four chapters, ‘That Yellow Bastard’ (Parts I & II), ‘A Hard Goodbye’ and ‘The Big Fat Kill’. Each chapter can be seen to overlap another and t he film begins and ends with ‘That yellow bastard’ creating a twist within the narrative; because the chapter doesn’t fully end until there becomes a new resolution. Furthermore, this also conveys a non-linear narrative structure as there are two other chapters in-between ‘That Yellow Bastard’ (Parts I & II). 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 four chapter narrative of Sin City allows there to be three different protagonists, and each one has their own voice-over. This voice-over allows the audience to identify the hero and identify with him. This also subverts the classic noir style of one protagonist, thus creating a ‘novelty’ within, ‘generic consistency’ (Douglas Pye; 1975)



               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. Although Sin City had a $40 million budget the film still used similar chiaroscuro lighting and mise-en-scene to the classic noir conventions, allowing Sin City to keep certain “elements and conventions of a genre… in play” (Steven Neale; 1990). Although the film had a bigger budget director Robert Rodriguez was able to be more ‘artistic’ with the film especially as it used CGI. Furthermore, the chapters in Sin City can be identified as an artistic element suggested by Tarantino as he used a similar style in ‘Kill Bill’ (2001).



               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, and ‘The Big Sleep’ (1946) uses both the protagonist and ‘Femme Fatale’ within the opening scene smoking cigarettes.



               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 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. For example when Marv in Sin City finds out Goldie is dead he feels that he was set-up by someone. “I won't let you down, Goldie”; often these films were about crime as opposed to the standard Hollywood film of action-adventure or romance. Sin City can be considered a hybrid in this sense that it has elements of madness as well as romance as we Marv falling in love with Goldie. These intellectual storyline’s came from, “a fan base, which included scholars” [11] which can be identified as perhaps originating from a ‘public sphere’.

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] Neo-Noir films are aware of the modern and technological position that they were in where by they is 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. The newer neo-noir films had such a comparison due to films like Sin City, 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 (which can also be identified In Propps character list) and the Femme Fatale, which is 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 and a variety of three male protagonists within the Neo-Noir film Sin City subverts the classic one main protagonist, this new ‘novelty’ allows the film to be Neo-noir. Although, the more stereotypical anti-hero is played by Bruce Willis known as Hartigan in Sin City who can be identified as the most stereotypical detective in comparison to Philip Marlowe played by Humphrey Bogart.

The anti-hero (Proppian character) 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. Hartigan does this a he physically castrates ‘That Yellow Bastard’ he conveys his power by taking away his reproductive organs. Furthermore, Hartigan committing suicide shows his choice out of desperation and idealises him as he safes Nancy’s life.

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 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, 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. The extension problem in Sin City can be identified as Hartigan the stereotypical protagonist who has his own voice-over, which is often; ‘reflective and confessional’ which can be also often fall into ‘Normativism’. Normativism is where preconceived ideas of criteria for genre are immediately thought of which may lead to stereotypes of a genre. The chiaroscuro lighting and nightlife setting of a Film Noir are stereotypes of the genre; Sin City still follows these elements in order to keep maintaining the ‘generic consistency’ (Douglas Pye) of Film Noir. 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. Like the extension problem the detective protagonist is a monolithic problem, it can be seen that self-reflecting voice-overs' are mainly associated with Film Noir. Furthermore, the idea of solving a murder is the main theme of Film Noirs. ‘The Hard Goodbye’ solves a murder and recent Neo-noir films such as ‘The Black Dahlia’ (2006) has the same theme. 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 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.

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 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. However, in the chapter ‘The Big Fat Kill’ there is an element of role reversal as Brittany Murphy does the loving and the leaving. Murphy is shown to leave her boyfriend, ‘Jackie Boy’ for her “Superman” (Sin City) played by Clive Owen. Chiaroscuro lighting is also used in Sin City 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 is a contemporary text and reflecting the Zeitgeist.

Sin City has more women in dominant roles when compared to ‘Film-Noir’ texts. For example, the prostitutes within Sin City 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. This can also illustrate the Proppian characters, Marv can be identified as the hero and the prostitutes can be seen as the princess’ the hero needs to save. Additionally as within Sin City 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 does continue to follow the same representations of women as The Big Sleep, where women are objectified and remain passive. Although in Sin City women are more active and have a bigger role to play in scenes, this is for, ‘novelty’ (Douglas Pye; 1975) reasons, the roles given to women pale to insignificance when compared to the multiple male protagonists in leading active roles. Women are still being objectified and treated like sex objects 70 years after the birth of the Film Noir genre. Additionally, the style remains very close to Film Noir aesthetic iconography, which is evident in Sin City. Cigarette smoking, trench coats and witty banter are ever present in Neo-Noir. The only exception is where multiple narratives forces the style to subvert the classic noir style of one protagonist, thus creating a ‘novelty’ within, ‘generic consistency’ (Douglas Pye; 1975). This is done to create dynamism within the new genre.

3174 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

[19] Mulvey, Laura (1975) – within essay quotes have been taken out

Work Consulted

http://en.wikipedia.org/wiki/German_Expressionism

The Essential Word Dictionary

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, Psychoanalysis’. 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.

Mulvey, Laura (1975): ‘Visual Pleasure and Narrative Cinema’. Glasgow: Screen

Filmography

Sin City (2005): Frank Miller, Robert Rodriguez, and Quentin Tarantino. USA.

The Big Sleep (1946): Howard Hawks. USA.

Self Evaluation

2008-02-28T10:32:00.002Z

Attainment = 2

I've missed a few lessons, I need to catch up a bit.
Effort = 1

I always put in a lot of effort
Punctuality = 2

I am always on time, although I've missed a few lessons.
Submission and quality of homework = 1

I've done all the homeworks set and it's always to a very high standard.
Ability to work independently = 1

I work best independantly, although am also good at working in groups.
Quality of writing = 1

My vocabulary and media termonology is very good and I am able to use it appropriatly.
Organisation of Media folder = 2

All my sheets are in my folder, that's good enough..
Oral contributions in class = 2

I always discuss and contribute, although recently I've been a bit quiet as every time I try and talk, I cough =/
Contribution to the debate team = 2

I've done the work that I'm supposed to do, although I must admit the team is unbelievably unorganized.
Extra-curricular work (film projects etc.) = 1

[What kind of question is that?]

I watch a lot of movies?
Standard of Module 5 blog = 1

It's amazing with a lot of research. The independant study has become a lot more interesting due to Freud. Oh, and I have the best books.. from a media university. Hahaha. =)
Standard of Module 6 blog = 2

It has all the media stories that I'm supposed to do.. what else is that blog for?!

Goodness Gracious Me

2008-02-25T10:07:00.002Z

http://youtube.com/watch?v=XjNmXkzuYrg

This shows the narrow minded and strict ideology thought of Asian parents. Although it can be argued that society as a whole still can't accept Gay relationships.

http://youtube.com/watch?v=KG-pmg_CCeI

Asian people are being portrayed as uncivilized, barbaric and ignorant.

Stereotypical unskilled roles for Asian men, such as being the plummer.

First Draft: Revised.. Again

2008-02-07T11:37:00.000Z

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.

-------------------------------------------------------------

Laura Mulvey – ‘Visual Pleasure and Narrative Cinema’ - ?

Independant Study First Draft

2008-02-05T07:56:00.000Z

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)"

The 1940’s saw the ‘Film Noir’ genre emerge, the narrative structure was non-linear, being rather complex, with the use of flashbacks. Additionally the story was told by a first person voice-over narrator to help anchor the meaning of the film or scene. 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 used for effect. 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 silent film, ‘Das Cabinet des Dr. Caligari’ (1920) is a groundbreaking film, which, is known as one first true ‘Expressionist’s’ 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.
The plots of these early Expressionist films often dealt with issues of madness, insanity, betrayal that were often about crime and the mind as opposed to the standard Hollywood film of action-adventure or romance. These intellectual storyline’s came from, “a fan base which included scholars” [1] 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.

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, which was absent from the classic Film Noir. 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 in full 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 director, 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’ lacks the qualities of an archetypal hero but is 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 Fetale’. 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.
The ‘Femme Fatale’ is a seductive and appealing women who charms men into a sense of illusion, 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’.

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 genres 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’”[2], 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’, 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. Within ‘Sin City’ (2005), the female character Nancy Callahan played by Jessica Alba is a pole dancer; the pole in this instance is phallic object where by it 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 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.

‘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, 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. Within a patriarchal society, “A cultural practice representing myths about women and femininity”[3] are created and believed although perhaps untrue, where women aren’t as inferior as they are presented within films.

Within the 1940’s, women were known to be within the housewife role and to be inferior to men and that is 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’”[4]. 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.

During the WWII women were give 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, as these women attempts to use her femininity, charm, beauty and sexuality in advantage over men. In other instances she may use psychological manipulation and lying to achieve what she wants. For 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.

Words – 1,749

Works Cited

Books

[1] Neale, Steve (2002) pg. 254

[2] Johnston, Claire (1991) pg. 25

[3] Cook, Pam & Bernink, Mieke (1999) pg. 353

[4] Kaplan (1998) pg. 3

Works Consulted

http://en.wikipedia.org/wiki/German_Expressionism

The Essential Word Dictionary

Laura Mulvey - ‘Visual Pleasure and Narrative Cinema’

Bibliography

Kaplan, E. Ann (1998): ‘Women in Film Noir’. London: BFI

Johnston, Claire (1991): ‘Women’s cinema as counter-cinema’. Glasgow: SEFT

Cook, Pam & Bernink, Mieke (1999): ‘The Cinema Book’. London: BFI

Neale, Steve (2002): ‘Genre and Contemporary Hollywood ’. London: BFI

Author Surname, Author First Name (year of publication): Title. Place of Publication: Publisher.

Introduction

2008-01-11T11:49:00.001Z

“From January through December deep shadows, clutching hands, exploding revolvers, sadistic villains and heroines tormented with deeply rooted diseases of the mind flashed across the screen in a panting display of psychoneuroses, unsublimated sex and murder most foul”, the exciting detective film classified and stereotyped into the Film Noir genre seemed almost dead with newer genre’s taking over. However, Frank Miller’s comic book’s set in a noir style was brought to life with the help of Robert Rodriguez and Quentin Tarantino. Although the question remains as to whether the new genre has been able to capture the essence of the 1940’s loved genre, Film Noir. Does the 21^st century re-make ‘Neo-Noir’ remain the same as ‘Film Noir’ or is it a misconception and has it been wrongly stereotyped into this new genre?

Essay Plan Revised

2008-01-10T23:04:00.000Z

Essay Plan

"Does the neo-noir genre continue to follow the representations of the classic film noir genre, with particular reference to ‘Sin City’ (2005)"

Introduction

1) Douglas Pye (1975) - “Generic consistency allows for the shorthand of conventions and stereotypes but also for the interplay between confirmed expectations and novelty

2) Andrew Taylor (1986) - "Genre is what we collectively believe it to be"

3) "Whoever went to the movies with any regularity during 1946 was caught in the midst of Hollywood's profound post war affection fro morbid drama. From January through December deep shadows, clutching hands, exploding revolvers, sadistic villains and heroines tormented with deeply rooted diseases of the mind flashed across the screen in a panting display of psychoneuroses, unsublimated sex and murder most foul" – This article is from a 1947 'Life' magazine within The Cinema Book.

Paragraph 1 – History and Style of Film Noir

1) When did it all begin? Where did it come from?

2) How do these characteristics define Film Noir and how do they represent characters in the film?

Talk about Chiaroscuro lighting (M), Dutch Angle (M), Auteur Theory (G), Patriarchy (I, R)

3) “Back in the post-WWII Hollywood era that spawned most films noir, these movies were called either Crime Thrillers or Murder Dramas” (G) http://www.greencine.com/static/primers/noir.jsp

4) Femme Fetale – “As women during the war period were given newfound independence and better job-earning power in the homeland during the war, they would suffer on the screen in these films of the 40s”

Paragraph 2 – History and Style of Neo Noir

1) Why did Neo Noir emerge?

2) How do these characteristics define Neo Noir and how do they represent characters in the film?

Talk about Chiaroscuro lighting (M), Dutch Angle (M), Auteur Theory (G), Patriarchy (I, R)

3) Although ‘Sin City’ does not have one protagonist the character of Hartigan can be identified as the most idealized version of the classic noir detective, as he is rugged, very manly and saves women time and time again.

Paragraph 3 – The changes in genre

1) Why did the changes occur? (SHEP?)

2) Robert Stam identifies four key problems with generic labels in film:

Extension (the narrowness of labels)

Normativism (having preconceived ideas of criteria for genre) [A]

Monolithic definitions (as if an item belonged to only one genre) [G] – the item in this instance is the monochrome/chiaroscuro lighting used for Film Noir and Neo Noir.

Biologism (a kind of essentialism in which genres are seen as evolving through a standardized life cycle) – Zeitgeist; links to how film noir is of it’s time and neo noir is of it’s time [Wider Context – S, E] (Stam 2000, 128-129).

3) “The figure of the femme fetale, a further trend in recent writing on noir has been an attention to issues of masculinity”… “Frank Krutnik, 1991, and for Deborah Thomas, 1992, issues of masculinity and central to Film Noir, which they see as dramatising and exploring ‘a particular crisis in male masculinity’ (R) [1]

Paragraph Four – What hasn’t changed

1) How has Neo Noir adopted the characteristics of Film Noir?

2) The females in film noir were either of two types – dutiful (devoted), reliable, trustworthy and loving women; or femme fatales - mysterious, duplicitous (two faced), double-crossing, gorgeous, unloving, predatory, unreliable, irresponsible, manipulative and desperate women.

http://www.filmsite.org/filmnoir.html

3) Female characters in noir films reinforced Laura Mulvey’s theory on the male gaze and the characters that played the femme fatale held the quality of “to-be-looked-at-ness” [R][I][A] http://www.filmsite.org/filmnoir.html

4) “Heroes (or anti-heroes), corrupt characters and…these protagonists were often morally-ambiguous low-lives from the dark and gloomy underworld of violent crime and corruption.

5) Representation of women. Roland Barthes = Myth. When an ideology is repeated enough, people start to believe it. Sin City has generalized stereotypes such as men being the hero for pretty much every woman in the film.

6) Storylines were often elliptical, non-linear and twisting. Narratives were frequently complex, maze-like and convoluted, and typically told with foreboding background music, flashbacks (or a series of flashbacks), witty, razor-sharp and acerbic dialogue, and/or reflective and confessional, first-person voice-over narration.

http://www.filmsite.org/filmnoir.html

Conclusion – Does Neo Noir follow the same representations as Film Noir?

1) Does Neo-noir follow the representations of Film Noir? If so, why? If not, why?

2) “…Low budgets and B-film status of many film noirs were seen as a priori proof that the films were 'trash” (Cinema Book) [E] http://www.filmsite.org/filmnoir.html

Is this true? Do low budgets account for an entire genre as being labelled ‘trash’?

Reference

[1] Cook, Pam; Bernink, Mieke (2003) Pg 188

Bibliography

Stam, Robert (2000): Film Theory an Introduction. Oxford, UK: Blackwell Publishers
Ltd.F.

Cook, Pam; Bernink, Mieke (2003): The Cinema Book. Stephen Street, London: British Film Institute.

Cosmo Girl x Elle Girl

2008-01-07T00:45:00.000Z

Cosmo Girl http://www.chineselaundrybags.com/images/InitialSet/2006CosmoSeptC1.jpg
Elle Girl http://www.meganmarysmith.com/images/gallery_ellegirl.jpg

The cover of Cosmo Girl shows a medium close up of Ashlee Simpson, she is looking directly towards the audience in an innocent way. On the other hand, Elle Girl shows OC star Rachel Bilson in a medium long shot with the camera at a low angle. With the wind blowing in her hair and her facial expression there is a sense of a provocative pose.

The background for Elle Girl is more natural and shows greenery whereas the background of Cosmo Girl is just a plain white studio backdrop. The colour scheme for Elle Girl uses mainly pinks, whites and blacks some use of yellow to highlight the special price. The pink can be seen as a typical colour to represent girls. Cosmo Girl has a colour scheme of pink, black and green, ‘Girl’ is written in a pink lipstick style conveying this magazine is for girls.

The genres for both magazines are teenage, girl’s magazines, which often have topics regarding clothes, beauty and lifestyle, similar to the kind of subjects found in the older women’s version to Elle Girl and Cosmo Girl.

Ashlee Simpson on the cover of Cosmo Girl is show to look innocent and is a celebrity who Cosmo Girl feels is a good role model for their readers. She is shown to be pretty and with light make-up Cosmo is attempting to convey it as natural beauty, so that younger readers can aspire to look that particular way with little effort. Elle Girl does the same; however, Rachel Bilson is conveyed to be naturally beautiful, as she is not wearing noticeable make-up. Rather than conveying her as her OC character Summer, Elle Girl conveys Bilson as the person she is.

Cosmo Girl is the teen alternative to Cosmopolitan; the target readership for this magazine can be identified as young teenage girls aged between 14 to 19 year olds. Elle Girl is for a similar demographic for young girls and teenagers. The ‘Girl’ in both titles of the magazines creates a separation from Cosmopolitan and Elle from which the younger magazine alternative are produced. This also shows some element of continuity, as the audience grows up they can continue read Elle or Cosmopolitan.

The tag lines of Elle Girl convey the ideology that as a girl one has to look beautiful with “perfect back-to-school makeover” and “Hollywood Style Special”. The ‘Hollywood style’ reinforces celebrity culture and suggests to the audience that they can look like their favourite stars such as “…Hilary Duff, Lindsay Lohan…” Cosmo Girl focuses more of the aspiration of looking beautiful with “beauty Qs” and “Amazing Abs”. With Ashlee Simpson the only celebrity on the cover it can be seen that Cosmo are down playing the celebrity culture.

In conclusion, although Cosmo Girl and Elle Girl are two different types of teenage magazines they both have some similarity. The masthead and the use of pink coloured text within the masthead allow the audience to identify these as girl’s magazines. Furthermore, the celebrities used on the cover reinforces the girl magazine status and somewhat encourages celebrity culture. Finally, the taglines of the magazines show the audience what to expect when they buy it and both Cosmo Girl and Elle Girl have articles about beauty, lifestyle and clothes often similar to articles in Cosmopolitan and Elle.

Dr No. x Casino Royale

2008-01-07T00:07:00.000Z

Casino Royale (2007) http://www.lovefilm.com/lovefilm/images/products/7/55887-large.jpg

Dr No. (1962) http://images-eu.amazon.com/images/P/B000FIKU7K.01.LZZZZZZZ.jpg

The Casino Royale cover shows a long shot of the recent James Bond in the foreground holding a gun; the background has a bigger female figure. However, this background is a silhouette and within the silhouette there is a dark image of a casino lit up with yellow lighting and below the casino is silver car, which is parallel with James Bond suit and the grey background of the DVD cover. The target audiences for many of the James Bond films are men aged between 15-25 years old. Daniel Craig is not looking towards the audience this is similar in the 1962 Dr No DVD cover.

The Dr No DVD cover is part of a ultimate edition. The DVD cover is split into 3 sections and the top and bottom sections are in a grey monochrome color scheme. The middle shows a colored picture, which shows a Bond girl in a bikini and has just come out of the water; she fulfils the Mulvey’s ‘to-be-looked-at-ness’ quality. The foreground shows a medium shot of Sean Connery holding a gun and is looking in a different direction away from the audience.

Both DVD covers show the main protagonist holding a phallic object in the shape of their gun and also has some representation of a female. The iconography of guns and women become conventional of the Bond films.

‘United Artists’ distributed Dr No where as the most recent Bond film; Metro-Goldwyn-Mayer Columbia Pictures distributed Casino Royale. Both institutions produce Hollywood films, which can be seen with the use of expensive cars, gadgets and sets.

The genre for the Bond films can been identified by the iconography within the DVD covers. One icon can be identified as the gun; the gun symbolizes violence and action, the female who is an object of the male gaze, or the Bond girl, is another icon, which conveys to the audience that the Bond film can be considered an action film. Casino Royale also employs and fast car, which is often, a visual medium used in action films.

The Bond girl in the Dr No DVD cover conforms to the Mulvey theory of being an object of the male gaze and furthermore hold to quality of ‘to-be-looked-at-ness’. Furthermore, Bond being the protagonist reinforces patriarchy this also shown by the way that Bond is always holding a gun on the DVD cover.

The audience for the Bond films can vary, the target audience can been seen as males aged between 15 to 25 years old. A secondary audience can be identified as an older generation who enjoy watching the James Bond films since they began in 1962. Through the DVD cover women are not targeted however, the storylines try to engage women as they often show Bond having relationships with women.

The Bond films are well known to reinforce patriarchy values and undermine women. Casino Royale subverts the undermining of women the silhouette of the women figure is bigger than Bond, however, with his gun in his hand as a phallic symbol and the expression on his face he is conveyed to be more power and thus reinforces patriarchy. The Dr No DVD cover shows the female as a object and is present for the male gaze, this by itself reinforces patriarchy. Again Bond is shown to be holding a gun as a phallic object, giving him more power than the female.

Both covers show Bond in the foreground and a female in the background, this can convey a narrative of Bond having to overcome his promiscuous nature to save the world one more time. It also shows that the character of Bond does not see women as important thus also reinforcing patriarchy.

In conclusion, the Bond DVD covers convey patriarchy ideologies and values. Bond is shown to be the most important person on the cover, often in the foreground and holding a gun as a phallic object to reinforce his patriarchal status. The females are objectified and in the Dr No cover the female is wearing a bikini however, the most recent DVD cover only shows a silhouette of a female. Finally, these representations and ideologies conveyed through the DVD covers appeal to the male audience who are so fond of the action films with girls and fast cars.

Essay Plan

2008-01-06T23:51:00.000Z

Essay Plan

"Does the neo-noir genre continue to follow the representations of the classic film noir genre, with particular reference to ‘Sin City’ (2005)"

Key

What it means

Purple

Links to Migrain and Shep

Red

Quote

Bold

Key word

Italic

Website Link

Media Language (M)

Chiaroscuro lighting – Sharply contrasting lighting where strong highlights and dark shadows are cast for a dramatic and atmospheric effect. From the Italian words ‘Chiaro’, meaning ‘Bright’ and ‘Scuro’ meaning ‘Dark’.

Dutch Angle (Canted shot) – a type of camera shot, which involves tilting the camera to create a sense of disorientation.

Auteur Theory – A term to describe the decisive, creative input of a film director in determining the stylistic and ideological treatment of a film – What you see on the screen is a reflection of the directors style rather than what genre theory represents [G]

Ideology (I)

Patriarchy – male (and also world) domination in society is reflected on the silver screen [I][R]

Genre (G)

The noir genre has “various recurrent themes” (Cinema Book), crime and murder; these are continually used in both neo-noir and classic noir films. [G]

“Back in the post-WWII Hollywood era that spawned most films noir, these movies were called either Crime Thrillers or Murder Dramas” [G] http://www.greencine.com/static/primers/noir.jsp

"Schrader goes on to suggest that the fundamental reason for the neglect of noir was the importance of visual style to the form: 'American critics have been traditionally more interested in theme than style" (Cinema Book) [Wider Context – H]

Robert Stam identifies four key problems with generic labels in film:

Extension (the narrowness of labels)

Normativism (having preconceived ideas of criteria for genre) [A]

Monolithic definitions (as if an item belonged to only one genre) [G] – the item in this instance is the monochrome/chiaroscuro lighting used for Film Noir and Neo Noir.

Biologism (a kind of essentialism in which genres are seen as evolving through a standardized life cycle) – Zeitgeist; links to how film noir is of it’s time and neo noir is of it’s time [Wider Context – S, E] (Stam 2000, 128-129).

Douglas Pye (1975) - “Generic consistency allows for the shorthand of conventions and stereotypes but also for the interplay between confirmed expectations and novelty

Andrew Taylor (1986) - "Genre is what we collectively believe it to be"

Paul Schrader suggests: "Schrader goes on to suggest that the fundamental reason for the neglect of noir was the importance of visual style to the form: 'American critics have been traditionally more interested in theme than style" – The Cinema Book

"Whoever went to the movies with any regularity during 1946 was caught in the midst of Hollywood's profound post war affection fro morbid drama. From January through December deep shadows, clutching hands, exploding revolvers, sadistic villains and heroines tormented with deeply rooted diseases of the mind flashed across the screen in a panting display of psychoneuroses, unsublimated sex and murder most foul" – This article is from a 1947 'Life' magazine within The Cinema Book.

Representation (R)

Femme fatale - “A cynical, hard-hearted, disillusioned male character, who encountered a…femme fatale. She would use her feminine wiles and come-hither sexuality to manipulate him into becoming the fall guy - often following a murder. After a betrayal or double-cross, she was frequently destroyed as well, often at the cost of the hero's life. As women during the war period were given new-found independence and better job-earning power in the homeland during the war, they would suffer -- on the screen -- in these films of the 40s.” [Wider Context, historical] [R] http://www.filmsite.org/filmnoir.html

The females in film noir were either of two types – dutiful (devoted), reliable, trustworthy and loving women; or femme fatales - mysterious, duplicitous (two faced), double-crossing, gorgeous, unloving, predatory, unreliable, irresponsible, manipulative and desperate women.

http://www.filmsite.org/filmnoir.html

Female characters in noir films reinforced Laura Mulvey’s theory on the male gaze and the characters that played the femme fatale held the quality of “to-be-looked-at-ness” [R][I][A] http://www.filmsite.org/filmnoir.html

“The femme fatale, who had also transgressed societal norms with her independent and smart, menacing actions, would bring both of them to a downfall.” [N] http://www.filmsite.org/filmnoir.html

“Heroes (or anti-heroes), corrupt characters and…these protagonists were often morally-ambiguous low-lives from the dark and gloomy underworld of violent crime and corruption. Distinctively, they were cynical, tarnished, obsessive (sexual or otherwise), brooding, menacing, sinister, sardonic, disillusioned, frightened and insecure loners (usually men), struggling to survive – and in the end, ultimately losing.” [R] http://www.filmsite.org/filmnoir.html

Although ‘Sin City’ does not have one protagonist the character of Hartigan can be identified as the most idealized version of the classic noir detective, as he is rugged, very manly and saves women time and time again.

“The figure of the femme fetale, a further trend in recent writing on noir has been an attention to issues of masculinity”… “Frank Krutnik, 1991, and for Deborah Thomas, 1992, issues of masculinity and central to Film Noir, which they see as dramatising and exploring ‘a particular crisis in male masculinity’ [R] [1]

Narrative Structure (N)

“…Low budgets and B-film status of many film noirs were seen as a priori proof that the films were 'trash” (Cinema Book) [E] http://www.filmsite.org/filmnoir.html

Sin City has 3 stories within the film, which intertwine with one another, subverting Todorov’s narrative structure theory and also subverts the typical narrative structure on a classic noir film. [N] http://www.filmsite.org/filmnoir.html

Storylines were often elliptical, non-linear and twisting. Narratives were frequently complex, maze-like and convoluted, and typically told with foreboding background music, flashbacks (or a series of flashbacks), witty, razor-sharp and acerbic dialogue, and/or reflective and confessional, first-person voice-over narration.

http://www.filmsite.org/filmnoir.html

Roland Barthes = Myth. When an ideology is repeated enough, people start to believe it. Sin City has generalized stereotypes such as men being the hero for pretty much every woman in the film.

[1] Cook, Pam; Bernink, Mieke (2003) Pg 188

Bibliography

Stam, Robert (2000): Film Theory an Introduction. Oxford, UK: Blackwell Publishers
Ltd.F.

Cook, Pam; Bernink, Mieke (2003): The Cinema Book. Stephen Street, London: British Film Insistitute.

Title

2008-01-06T19:51:00.001Z

"Does the neo-noir genre continue to follow the representations of the classic film noir genre, with particular reference to ‘Sin City’ (2005)"

Elle x GQ

2008-01-06T18:39:00.000Z

Magazine Comparison – Elle x GQ

Elle – http://www.magazines.com/magcom/covers/0/06/040/0060400.jpg
GQ – http://www.futureofthebook.org/sivavaidhyanathan/archives/gq.jpg

The front cover of Elle has Keira Knightly in a blue dress; she is posed in a somewhat innocent yet provocative manner. This has been done, as Keira Knightly is known to be quite innocent yet beautiful, perhaps what the target audience aspire to be like. Elle is read by female’s aged 25-35 therefore many are wives whom want to be the stereotypical slender, innocent looking wife but to also have a sex appeal, similarly to Keira Knightly.
The cover of GQ has Jessica Simpson on the front, which is used to sell the magazine, which is clear emphasis, on whom the magazine is sold to. Additionally, the colours connote a rugged army and nationalistic ideology due to the American colour theme used, and Jessica Simpson wearing army clothing.
Both magazines colour schemes match the month in which they are published, for instance the cover of GQ was published in July and the colour scheme uses reds, blues and green to emphasise the summer. Where as Elle was published in December and a red and white colour scheme is used to emphasise cold, snow and Christmas.

Elle is known to focuses on women's fashion, beauty, health, and entertainment where by it is the one of the largest fashion magazines. Elle has been around for many years, being known to appeal to the more sophisticated female audiences when compared to rival fashion magazines. Additionally, GQ is also known for the more mature and sophisticated male as other rival magazines such as FHM and Maxim.
GQ is a men’s lifestyle magazine, meaning it talks about all aspects of life. It covers men’s interests and hobbies. For example, the cover how to ‘be the best dressed man in America’ which covers men’s clothing and how to dress which for some men may be a daunting task as men are known to be uninterested in fashion and may need guidance. In comparison to GQ, Elle is the same magazine but for women. Elle covers women’s hobbies and interests such as, ‘hair… the secret to super-brightness’.

GQ objectifies women as they use Jessica Alba to sell the magazine, as the tagline states, “God this is a great country… Jessica Simpson” which has the implications of her being an object. Laura Mulvey’s theory of ‘to-be-looked-at-ness’ is clearly illustrated on the cover of GQ as Jessica Alba serves no other purpose except to sell the magazine on a sexual content basis where by she is wearing an American flag covered bikini with rolled down camouflage combat trousers. Her costume represents GQ and it’s audience to be nationalistic as their object of desire is bathed in American print clothing whilst most of the text is in red or blue.
However, Elle uses Keira Knightly as women of beauty, a person who can be seen as a role model where she is seen as a person rather than an object. However, as she appears to be so perfect does this really mean she isn’t an object of perfection, where she is an unrealistic idolized version of what women want to be, where by she has been manipulated in order to look like that therefore, has she been treated as an object must be considered.

The audience for both magazines’ are rather similar, where Elle caters to the middle class housewife and GQ caters for the middle class male. However, either magazine differs due to the gender of their audience. On the cover of GQ, articles such as, ‘In search of the greatest hamburger in the nation’ which shows the boyish male side to the magazine. Where as Elle’s articles are more mature and feminine, ‘How to be the best dressed girl at the party’, which shows that women care about looking good when going to parties, however the word girl gives off the ideology that it may be a mature cocktail party rather than a teenage house party.

To conclude, both magazines appeal to very similar markets and audiences the only separation in audiences is gender as both are sophisticated lifestyle magazines for a mature audience when compared with their key rivals. However, it is clear to see that a patriarchal ideology runs throughout GQ as they continuously use women as objects.

The Big Combo (1955)

2008-01-05T19:23:00.000Z

The Big Combo (1955) is an American film noir directed by Joseph H. Lewis and stylistically photographed by cinematographer and noir icon John Alton with music by David Raksin.

This film noir is considered by many film critics as one of the best work of legendary cinematographer John Alton. [1]

Film Noir has been known to mostly employ orchestral (strings) scores. However, The Big Combo is one of few film noir's to have a brass score.

[1] Kemp, Philip. International Dictionary of Films and Filmmakers. Vol 4: Writers and Production Artists, New York-London, 2000

-----------------------------------------
John Alton

Alton was known for unconventional camera angles—especially low camera shots. His style is most notable in the film noirs: He Walked by Night, The Big Combo, The Amazing Mr. X, T-Men, and Raw Deal.

More info: http://www.celtoslavica.de/chiaroscuro/dop/alton.html

Laura Mulvey Summary

2007-12-27T13:10:00.000Z

'Visual Pleasure and Narrative Cinema'

1) 'Visual Pleasure and Narrative Cinema' written in 1973, published in 1975.

2) Based her work on conceptual analysis of classical Hollywood film texts rather than audience research

3) A typical audience member will identify, admire or aspire to the male protagonist.

4) The look from audience to Women are

a) 'fetishistic'- to be viewed excessively as sexual beings
b) 'voyeuristic' - viewed as virtuous and beautiful

5) Mirror Stage - The point at which a child views themselves in a mirror, understanding they are a separate being from their mother. A sense of narcissistic pleasure is found.

6) The original essay assumes that the film audience is a heterosexual male.

7) The original essay assumes that the film's protagonist is male.

8) Texts from 1930's to 1980's were used.

9) Scopophilia - The pleasure of watching what shouldn't be seen.

10) Narcissism - Excessive or erotic interest in the self.

11) Nouvelle Vague - French New Wave. A movement in French cinema which rejects the stereotypical way of doing things by employing experimental film making techniques.

How this applies to Film Noir, Neo Noir and Sin City
1) Fetishistic Gaze - Jessica Alba seems to be objectified and is used to be a fetish object.

2) Voyeuristic Gaze - A male audience member may admire one of the masculine protagonists.

There isn't too many links as 'Visual Pleasure and Narrative Cinema' was written in a sense of representation of women, and how men are dominant. This is somewhat irrelevant as my study is based on the thesis of a developed/developing genre.

10 Websites

2007-11-25T23:24:00.000Z

http://www.crimeculture.com/Contents/NeoNoir.html

Definition and info about the Neo Noir genre.

---------------

http://www.crimeculture.com/Contents/Film%20Noir.html

Same as above.. about Film Noir.

---------------

http://www.boxofficemojo.com/genres/chart/?id=neonoir.htm

Popular Neo Noir films, could be useful for SHEP.

----------------

http://www.moderntimes.com/style/

What makes Film Noir inovating.

----------------

http://www.filmsite.org/filmnoir.html

Descriptions and definitions.

---------------

http://www.greencine.com/static/primers/noir.jsp

Where Film Noir has orignated from. Good for historical aspect (SHEP)

--------------

http://www.imagesjournal.com/issue02/infocus.htm

Explains some famous Film Noir films.

-------------

http://www.aber.ac.uk/media/Documents/intgenre/intgenre.html

Genre Theory website from Daniel Chandler (famous Genre Theorist)

-----------

http://www.filmsite.org/genres.html

Definition of what Genre is.

-----------

http://www.resnet.trinity.edu/wmclean/sincity.htm

This website has an article which links Sin City to Film Noir and has some interesting ideas.

Another 10 Keywords

2007-11-25T21:59:00.000Z

Vladimir Propp = Binary Oppositions. Kevin is Marv's opposite character.

Typography = The font used for Sin City is particular to the film and can distinguish it apart from other films.

Male Gaze = Women are objectified by men. Marv and pretty much everyone objectifies Jessica Alba..

Zeitgiest = Spirit of the age.. which is quite unique to my text as Neo Noir is based on a genre from the 1940's yet uses 21st century ideologies.

Patriarchal Society = Male dominated soceity. Sin City is a very patriarchal film.

Hybrid genre = A film who uses conventions from two genres. Can Sin City be a mixture of Film Noir and Neo Noir or is it soley Neo Noir?

Motif = reoccuring theme or element that is repeated to give a messege.

Narrative theory = what makes up a narrative which is particular to certain genres. Levi Strauss and Propp are narrative theorists.

Barthes = Enigma Code. Sin City's narrative creates a lot of enigma's for the audience.

Barthes (again) = Myth. When an ideology is repeated enough, people start to believe it. Sin City has generalized sterotypes such as men being the hero for pretty much every women in the film.

Genre Theorists

2007-11-25T21:44:00.000Z

Douglas Pye (1975)

“Generic consistency allows for the shorthand of conventions and stereotypes but also for the interplay between confirmed expectations and novelty

-----------

Andrew Taylor (1986)

"Genre is what we collectively believe it to be"

The Cinema Book

2007-11-25T18:59:00.000Z

How exactly 'Noir' was defined.

Cook, Pam; Bernink, Mieke (2003): The Cinema Book. Stephen Street, London: British Film Institute.

"The first book-length study of noir (Borde and Chaumeton, 1955) began this work by mapping out various recurrent themes within noir (violence, crime, pyschological emphasis) and relating this to particular films."

-----------------

This study had to be done as:

"British and American critics failed to take film noir seriously"

--------------

They failed to take the films seriously as:

"Critics' dislike was compounded by economic snobbery: the low budgets and B-film status of many film noirs were seen as a priori proof that the films were 'trash'."

------------
Additionally, Paul Schrader suggests:

"Schrader goes on to suggest that the fundamental reason for the neglect of noir was the importance of visual style to the form: 'American critics have been traditionally moe interested in theme than style"

The Cinema Book

2007-11-25T18:42:00.000Z

Cook, Pam; Bernink, Mieke (2003): The Cinema Book. Stephen Street, London: British Film Institute.

"Whoever went to the movies with any regularity during 1946 was caught in the midst of Hollywood's profound post war affection fro morbid drama. From January through December deep shadows, clutching hands, exploding revolvers, sadistic villians and heroines tormented with deeply rooted diseases of the mind flashed across the screen in a panting display of psychoneuroses, unsublimated sex and murder most foul"

This article from a 1947 'Life' magazine.

Blog Buddy Meeting Summary

2007-11-25T18:30:00.000Z

Aman

Me and Aman have decided to look at definitions of what genre is. Additionally, we have decided to both look at theorist Rick Altman as he covers genre as a whole.

The next stage of research is more theorists which we can both use.

Book Research - Part 1

2007-11-22T12:28:00.000Z

Cook, Pam; Bernink, Mieke (2003): The Cinema Book. Stephen Street, London: British Film Institute.

“The genre offers a ‘never-never land’ governed by absolute inflexible laws”

--------------------------------------------------------------------------------------------------

Brian Murphy, ‘Monster movies: they came from beneath the 50s’, Journal of Popular Film 1(1), winter 1972

“Since we are dealing with a visual medium we ought surely to look for out defining criteria at what we actually see on the screen…”

--------------------------------------------------------------------------------------------------

Edward Buscombe, ‘The idea of genre in the American cinema’, Screen 2(2), March/April 1970

“By iconography Buscombe meant recurrent images, including the physical attributes and dress of the actors, the setting…”

--------------------------------------------------------------------------------------------------

The Media Student’s Book

“‘Genre’ is a French word for ‘type’ or ‘kind’, as in biological classification of plants and animals. In study of the media, it involves some long-standing debates about the categorisation of mass produced popular forms, and audiences’ pleasure in them.”

Task 9 - Blog Buddies

2007-11-04T22:56:00.000Z

Rohini

A Short summary of each study.

Her independent studies based on the genre change in.. musicals. =/
Umm.. yeah.. how and why the conventions have changed from old to more modern musicals..

Areas of overlap between each study (texts, topics, issues, debates).

Our studies both focus on the change and development in our own respected genres.

Task 9 - Blog Buddies

2007-11-04T22:54:00.001Z

Aman

A Short summary of each study.

Aman's independent study is based on Children of Men, and it asks the question of whether it conforms or subverts the stereotypical Sci-Fi genre.

Areas of overlap between each study (texts, topics, issues, debates).

Both our studies focus on genre changes, the similarities and differences our texts have compared to stereotypical ideologies that are given to our respective genres.

Blog Buddies

2007-11-04T19:04:00.000Z

Aman

A Short summary of each study.

Aman's independant study is based on Children of Men, and it asks the question of wether it confroms or subverts the stereotypical Sci-Fi genre.

Areas of overlap between each study(texts,topics,issues,debates).

What you've each learned from looking at each other's study that might be useful.

By looking at Pardeep's study I have gained some knowledge about how conventional beauty can effect how women are represented, she has also got some really helpful theorists and websites that I could also use in my independent study, information on female role models etc. Pardeep has also got some really useful reviews that brings up important iss

Self Evaluation

2007-10-28T11:48:00.000Z

Attainment = A

I’ve learnt quite a bit with the use of the keywords dictionary and I now have better knowledge about key media terms. Additionally I’ve learnt a lot doing my independent study.

Effort = 2

I’ve put a lot of effort into my blog’s, presentations and other homework’s. Although my Med 6 blog should have a few more news stories.

Punctuality = 1

I’m always on time.

Submission and Quality of homework = 1

It’s always on time and up to a good standard.

Ability to work independently = 1

I work really well on my own.

Quality of writing = 1

I have a good vocabulary of media terms.

Organization of Media folder = 3

I only bought one recently and am still in the process of putting sheets into it.

Oral contribution in class = 1

I always ask questions, contribute in discussions and I am quite opinionated so I tend to want to discuss other people’s opinions.

Standard of Module 5 Blog = 1

I have done all the work set as well as doing my own self-directed research.

Standard of Module 6 Blog = 2

I’ve done all the work set, although I haven’t updated my blog with news stories as I should have.

What is Neo Noir?

2007-10-25T23:20:00.000+01:00

http://ttwfilm.net/NeoNoir/NeoNoir.html

This website aims to answer the question, "What is Neo Noir?"

Genre Theory

2007-10-25T23:18:00.000+01:00

http://www.aber.ac.uk/media/Documents/intgenre/intgenre.html

An introduction to Genre theory by Daniel Chandler.

This website contains some essays and analysis. I'll have to go through this website more thoroughly.

Film Noir and Fiction site

2007-10-25T21:36:00.000+01:00

http://www.ils.unc.edu/dpr/path/filmnoir/fiction.htm

It has three books listed. I'll see if I can find these books and then I can continue my research from there.

The website itself is focused around Film Noir for people who have an interest in it.

More Keywords

2007-10-17T09:53:00.000+01:00

Antagonist

The rival or opposing figure in a narrative set againest the protagonist. Within Sin City, there are quite a few antagonists.

Anti narrative

A non-linear narrative, where by there are flashbacks and an altered time sequence. This can be seen in Sin City as it has 3 intertwining non-linear narratives.

Archetype

An often repeated character within a genre. The film noir and neo noir genre continue to have a detective and a femme fetale.

Barthes

The engima code, it is present throughout Sin City as the narrative is non-linear.

Anthology Film

A film consisting of several different short films, often tied together by a single theme or by an interlocking event. Somtimes, each short film is directed by a different director. Sin City is an anthology film, addtionally there were 3 directors.

Ideological state apparatus

Where instutions which are established, control the state and mind set by using their brand name power, additionally they reinforce certain ideologies. The Weinstein brothers own Demension films, which means they can reinforce the same continous ideologies, for example the objectifaction of women.

Innoculation

If you repeat shootings, famine and images of war continously means this constant exposure numbs audiences down. Sin City shows death repeatidly, shootings and audiences are almost normal to see it.

Levi-Strauss

Binary oppositions. Sin City has quite a few, Marv and Kevin for example.

Objectification

Women are used for a visual purpose soley. Jessica Alba in Sin City is a passive character and is only there to be objectified and for voyeuristic pleasure.

Voyeur

A person who watches someone whilst being in a non-involved position and for reasons of self gratification. The women in Sin City are there for voyeuristic pleasure.

Todorov

Equilbirum, Dis-equilbrium and New Equilibrium. Sin City subverts his theory.

Self Assesment

2007-10-17T09:45:00.000+01:00

Attainment = A
Effort = 1 I always put in a lot of effort
Punctuality = 1 I'm always on time, even early a couple of times
Submission and quality of homework = 2 It's not always on time
Ability to work independently = 1 I work very well on my own
Quality of writing = 1 Well my grades prove it
Organisation of Media folder = 2 A little unorganized, it's okay
Oral contributions in class = 1 I argue and debate a lot
Standard of Module 5 blog = 2 Could do a little more book research
Standard of Module 6 blog = 3 It's average, I've done the basic work set well.. but no independent work

WWW
Work well by myself
Do all my work to a high standard.. getting those A's [okay 1.. but we've only had 1 graded hw]

EBI
More indepedant work
Hand hw in on time
Highlight those packs before they're due!!

Clip Analysis

2007-10-14T21:04:00.000+01:00

http://youtube.com/watch?v=RwwzVTZw6Zw

Sin City Clip Analysis

The clip of ‘Sin City’ (2005) that I have chosen to analyze can be seen as a scene of resolution. However, the enigma code (Bathes) is invoked as Marv leaves Goldie unconscious. The resolution occurs when Marv kills Kevin, the audience can immediately distinguish the proppian hero and villain.

Marv is represented as an anti-hero, this is due to the fact that he smokes and kills without hesitation therefore he does not conform to the stereotypical ideologies that a passive audience would assume him to be like. Despite this the audience can easily identify with him due to the fact that a series of close-up shots allow the audience to view his emotional struggle in order to help another person.

Sin City follows the conventions of the neo-noir genre as it often uses a conflicted antihero, who can be identified as Marv. Another convention, which is used within newer neo-noir genre films, is the use of CGI graphics where by a digital background is used in order to create the visual aesthetics. For example, Kevin’s white glasses would have been added in the postproduction stages.

The costumes used are all of black colour, which allows the special effects to emphasise on facial features, such as red lips and green eyes. The low-key lighting is a cliché of the neo-noire genre, which is further enhanced with special effects to create what is known as chiaroscuro lighting.

Non-diegetic sound is added in postproduction to create a comic book like feeling, this feeling is added to with the use of monochrome colour. Additionally, similar to a comic book, the use of narration allows the audience to understand the protagonist’s mindset, and how they’re feeling. It also allows the story to be developed, as enigmas are unravelled with the protagonist providing explanation. The voice-over narration adds to the authenticity of this comic book adaptation and follows the conventions of the neo-noir convention.

A patriarchal society is enforced due to the fact that Goldie needs Marv to save her day, which conforms the ideology of women to be subordinate to men. Goldie can be identified as the whore in Laura Mulvey’s theory of women being into two categorises, as she is visually pleasing for the audience. Thus, she is there to be objectified and has the quality of ‘to-be-looked-at-ness’.

The social ideology of homosexual’s is negative as they are portrayed as ‘girly’ and weak, for example the macho character (Marv) easily defeats the girly homosexual (Kevin). Additionally the ideology of homosexuals being girly is further reinforced due to the fact that Kevin uses his nails when fighting. This scene reinforces the ideology of a patriarchal society, and also stereotypes homosexuals in a negative manner.

Through this one scene in ‘Sin City’ (2005), it can be seen that that Marv is represented as an anti-hero rather than just a hero however; he still makes the proppian characters of the villain and hero very clear.

Delicious Links

2007-10-07T16:51:00.000+01:00

http://www.filmsite.org/filmnoir.html

A brief history of film noir will be useful with historical context.

http://en.wikipedia.org/wiki/Film_noir

An over view and breakdown of how classic noir films were structured, themes etc. This will be useful to see how neo-noir has changed these over time.

http://www.aber.ac.uk/media/Modules/MC30820/represent.html

‘Representation’ explored and explained in detail, this site will help me analyze Sin City in more detail and compare it to classic noir films.

http://www.germanhollywood.com/noir.html

The connection between Hollywood noir and European noir films. This will be useful for historical context.

http://www.culturevulture.net/Books/DeathontheCheap.htm

Film noir as a B-movie again will be useful for historical context and can compare to how mainstream Sin City was.

http://en.wikipedia.org/wiki/Neo-noir

A history of neo-noir.

http://www.crimeculture.com/Contents/NeoNoir.html

An Introduction to neo-noir will be useful to see how the genre developed.

http://findarticles.com/p/articles/mi_m1272/is_n2638_v127/ai_20954321

An article on "The Endurance of Film-Noir"

Keywords

2007-10-07T15:23:00.000+01:00

Anti-hero

This is where the hero lacks the qualities the audience would normally associate with the hero. The audience do however still sympathise and can still see the story from their point of view.

BCU (Big Close-up)

A close-up shot which focuses on emotion, where by the audience can empathise with the character. Within Sin City, many close-up's are used with the 3 protagonists.

Canted Shot (Dutch Angle)

A titled low-angle shot. This is a trademark of Film Noir/Neo Noir. Sin City uses numerous times, especially with Bruce Willis.

Denouement

Where the plot is unravelled at the end of the film. The three narratives within Sin City unravell in front of the audience at the end.

Enigma Code

Created by Roland Barthes. The enigma code is where the audience are left asking questions. The non-linear narative structure within Sin City creates many questions.

Femme Fetale

In french film noir theory, a female character would use her sexuality in devious and secretive ways in order to achieve what she desires. The prostitute in Sin City convinces Marv to help protect them from the pimps.

Narrator

When a character talks over a scence. In Sin City, many characters explain and express themselves with the use of narration.

New Ladism

The male backlash againest feminism. Sin City ignores female equality and creates many subordiant female characters.

Parallel Action

Where a film will cut in between scenes to show an intertwining narrative structure - Sin City.

Post-Feminism

Where the achievements of the uprising of female equality are ignored, for example the women in Sin City are shown as subordinant and as sex objects.

Blog Comments

2007-09-30T21:07:00.000+01:00

Basran

https://www.blogger.com/comment.g?blogID=4828718162097622927&postID=6959728765516944493

Aman

https://www.blogger.com/comment.g?blogID=2352042809736615452&postID=1975900334439736276

Chintan

https://www.blogger.com/comment.g?blogID=2574997224413995264&postID=686003823899586808

Athar

https://www.blogger.com/comment.g?blogID=8925104818910187029&postID=8605307040161078627

Sin City - Media Representations

2007-09-23T19:26:00.000+01:00

Representation

Who is being represented?

Both men and women are being represented in ‘Sin City’ (2005).

In what way?

Men - Powerful, dominant
Women - Subordinate to men, devolved power where by men allow women to have power.

Why is the subject being represented in this way?

Men are represented in this way to maintain the patriarchal society even within a fictional world.

Women are given some power and can represented in this way to reflect feminism although the fact that women are only given power because men don’t want it must be considered.

Is the representation fair and accurate?

The representation of women within the film is neither fair nor accurate, with most women, if not all, are being represented as prostitutes or promiscuous femme fatals.

-------------------------------------------------------------------------------------------------------

Media Languages and Forms

What are the non-verbal structures of meaning in the text (e.g. gesture, facial expression, positional communication, clothing, props etc)?

Within the film, men wear long trench coats, some leather and very comic influenced clothing that is used as ‘Sin City’ (2005) is actually a translation from a comic book to a film, rather than an adaptation. This is clear as the original comic book was used as a storyboard, as well as there being no screenwriter.

Facial expressions are highlighted with the use of colour, as eyes and faces are highlighted using editing to emphasise expression. Additionally, shadows move across the actor’s faces digitally to add a comic dimension to their expressions.

What is the significance of mise-en-scene/sets/settings?

Sin City is one of the first films to be shot almost completely on a digital backlot. The film used Sony HDC-950 high-definition digital cameras instead of normal cameras. The actors had to work in front of a green screen so the digital effects could be added in postproduction.

The settings were made to re-create ‘Basin City’ which allows the audience to be able to visually see and understand the comic book city.

What work is being done by the sound track/commentary/language of the text?

A voice over is used to demonstrate the characters thoughts and feelings at the time as the camera follows the character, he or she explains what is happening and why.

What are the dominant images and iconography, and what is their relevance to the major themes of the text?

By having Sin City in monochrome (black and white) this allows the film to easily be categorized within the neo-noir genre. Furthermore, the opening scene uses the classic film noir iconography of a male detective in a trilby (hat) and trench coat.

What sound and visual techniques are used to convey meaning (e.g. camera positioning, editing; the ways that images and sounds are combined to convey meaning)?

Shots of characters at a high-angle put the audience in a lower status to the actual character. Therefore the director forces the audience to become the villain rather than the hero.

The use of chiaroscuro lighting also allows the director to convey meaning through facial expressions; the use of closes-ups further reinforces this idea. The director also uses colour in certain scenes this visual technique allows him to emphases characters and shows their importance within the narrative at a certain time.

------------------------------------------------------------------------------------------------------------------

Narrative

How is the narrative organised and structured?

Sin City is structured as having 3 stories within one film. All three stories intertwine subverting Todorov’s narrative structure theory.

How is the audience positioned in relation to the narrative?

The audience are forced to identify with the heroes in each story/chapter as they narrate the story.

How are characters delineated? What is their narrative function? How are heroes and villains created?

Hero’s and villains are created as once the audience follow a particular character around, for instance Marv, the audience learn to understand him through his voice over and through his actions. Which means that when the audience see characters such as Kevin fighting with Marv, they can immediately recognize who is the villain.

What techniques of identification and alienation are employed?

An important scene, which creates identification, is where Marv is driving alone at night by himself. This allows the audience to understand his feelings and to create a link with themselves and Marv. Additionally, the fact that Marv is usually by himself and helps out other people allows an ideology of alienation from others.

-------------------------------------------------------------------------------------------

Genre

To which genre does the text belong?

Neo-noir.

What are the major generic conventions within the text?

Murder or a crime is the key element of almost all film-noir/neo-noir films. The proppian hero takes out an investigation in all film-noir/neo-noir films.

What are the major iconographic features of the text?

Chiaroscuro lighting, guns, crime, detectives and smoking cigarettes.

What are the major generic themes?

Crime and murder.

To what extent are the characters generically determined?

The characters are set out generically, as the detective is identified rather easily as well as the femme fatals as others are.

To what extent are the audience’s generic expectations of the text fulfilled or cheated by the text? Does the text conform to the characteristics of the genre, or does it treat them playfully or ironically?

The generic expectations are fulfilled as the detective is rugged, very manly and saves women time and time again. This ideology is expected and fulfilled.

-------------------------------------------------------------------------------------------

Media Institutions

What is the institutional source of the text?

Dimension films

In what ways has the text been influenced or shaped by the institution, which produced it?

They’re known for their violent and gritty films, which mean they would be expected to have fictional world based movies.

Is the source a public service or commercial institution? What difference does this make to the text?

A commercial institution would mean that they don’t have to conserve what they show and a mass appeal isn’t necessary.

Who owns and controls the institution concerned and does this matter?

The Weinstein brothers own this institution and as they own Miramax, it means that an Art-house style movie was bound to be produced by this institution.

How has the text been distributed?

MGM distribute films as of March 2006.

-------------------------------------------------------------------------------------------------------

Media Audiences

To whom is the text addressed? What is the target audience?

What assumptions about the audience’s characteristics are implicit within the text?

What assumptions about the audience are implicit in the text’s scheduling or positioning?

In what conditions is the audience likely to receive the text? Does this impact upon the formal characteristics of the text?

What do you know or can you assume about the likely size and constituency of the audience?

What are the probable and possible audience readings of the text?

How do you, as an audience member, read and evaluate the text? To what extent is your reading and evaluation influenced by your age, gender, background etc?

Comparison - Similarities and Differences

2007-09-10T22:08:00.000+01:00

Film noir of the classic period were modestly budgeted features without major stars, in which writers, directors, cinematographers, and other craftsmen found themselves relatively free from the typical big-picture constraints. Where as in comparison to the modern Neo-Noir genre, large budgets are used to create the film noir genre graphical effects. In addition to large budgets, Neo-Noir goes againest conventions, where by 'Sin city' (2005) employs many star actors such as Bruce Willis, Clive Owen, Elijah Wood and Jessica Alba.

'Out of the Past' (1947) and 'Sin City' (2005) share many of the genre's conventions which include a cynical private detective as the protagonist, a femme fetale, multiple flashbacks with voiceover narration, dramatic chiaroscuro lighting and provocative banter.

Sin City Trailer

2007-09-10T21:56:00.001+01:00

I found the trailer to Sin City.. enjoy! :|

The Man Who Shot Sin City Article

2007-09-10T21:51:00.000+01:00

I found this article on: http://www.wired.com/wired/archive/13.04/sincity.html?pg=2&topic=sincity&topic_set=

Bold = MIGRAIN
Italic = Wider Context

The Man Who Shot Sin City

How Robert Rodriguez, the one-man digital army behind El Mariachi and Spy Kids, brought an "unfilmable" cult comic to the big screen.

By Brian Ashcraft

For years, one of the biggest gets in Hollywood was the movie rights to the graphic novel series Sin City. Penned from 1991 to 2000 by Frank Miller, whose The Dark Knight Returns resurrected the Batman franchise, Sin City was emblematic of a new generation of comics that replaced the candy-colored superhero with an angst-ridden antihero. Sin City's hardnosed dialog (N), cinematic compositions (M), and kinetic violence (G) evoked classic Warner Bros (I). crime films (G) more than Marvel's men in tights. Handsome movie offers followed, but Miller didn't bite. He'd been burned by the studio system before: In 1990, he lost control of his script for RoboCop 2 and was less than pleased with the onscreen result. He told friends that it just wasn't possible to make a live-action version of Sin City.

When Miller got a call from Robert Rodriguez, A young director known for innovative, inexpensive genre pictures like Desperado and highly technical box office darlings like Spy Kids, Rodriguez made Miller a simple offer: Come to Texas and shoot with me for a day. If you like what you see, we'll make a deal. If not, the short film is yours to keep. Miller watched as actors Josh Hartnett and Marley Shelton performed a scene straight from "The Customer Is Always Right," a decade-old short story in the Sin City series. After the shoot, Rodriguez cut the footage in his editing bay, laid down a few special effects, and added music - all that same day. Miller was floored “You don't put Josh Hartnett in a test," he says. "I just dove in." They sealed the deal, with Miller named as codirector. That three-minute short became the opening scene of the movie Sin City, set to hit theaters April 1.

El Mariachi which he wrote, directed, edited, photographed, and scored for a mere $7,000. Originally intended for the Spanish straight-to-video market, the movie was picked up for distribution by Columbia Pictures (I) in 1992 and went on to win the Audience Award at the 1993 Sundance Film Festival; it was the lowest-budget film (E) ever released by a major studio.

With his own Sony HD cameras, a Discreet visual effects system, four Avid digital editing machines, and XSI animation modeling software (E), Rodriguez can make truly independent films - and for less money than traditional Hollywood directors. "It's like going back to the old video days," Rodriguez says, "when you could run around in your backyard and shoot a movie." Rodriguez is the first filmmaker since Lucas who's had the confidence and skills to work outside the studio system yet still produce big-budget, effects-laden pictures.(H)

That kind of freedom doesn't come without consequences. A week before Sin City began shooting, the Directors Guild of America (I) called to inform Rodriguez that he and Miller couldn't be listed as codirectors in the movie's credits. It would be a violation of DGA rules. Rodriguez was stunned when the DGA threatened to shut down production. Rather than dump Miller, Rodriguez resigned from the guild.

"Having finished the Spy Kids series," Rodriguez says, "I was looking for a good effects challenge." That's what led him to Miller's Sin City. The series takes readers on an eye-popping tour of an underworld packed with tough cops, femme fatales (R), and seedy lowlifes (N). "The stories were great," he says, "but what grabbed you was the look." Miller's black-and-white chiaroscuro style reflects (M) an artist raised on pulp fiction and old crime movies (G). Every scene takes place at night or in some back alley.

There are absolutely no midtones in the graphic novels, a trait that makes them especially problematic to portray on celluloid. "This movie wouldn't even be possible if I shot it on film," Rodriguez says, explaining how difficult it is to capture pure black and white on camera. His workaround: Shoot the actors against a green screen and add most of the backgrounds digitally in postproduction ("All of the guns and cars are real," Miller points out). Even small details like Sin City's signature "white blood" proved to be an effects challenge. Regular movie blood didn't cut it. Instead, the crew used fluorescent red liquid and hit it with a black light. This allowed Rodriguez to turn the blood "white" in postproduction. Likewise, the novel's few splashes of color proved troublesome. Yellow and green react with green screens, causing color to spill into the background and making them impossible to separate. So during shooting Rodriguez painted the villain, Yellow Bastard, blue - and then colored him yellow in post.

As Rodriguez refines the tools of digital filmmaking - and the liberty that comes with them - others are slow to follow. Rodriguez persuaded his pal Quentin Tarantino to direct a scene in the movie. For Sin City, Tarantino filmed a self-contained segment at Troublemaker (Rodriguez own studio) and learned that high tech means low stress. Rodriguez explains: "Quentin did a scene where the actors are in a car and it's raining. Instead of worrying about all that stuff, the car and the rain were added later, and he could just get the performance." Tarantino now says he'll shoot his own digital feature.

The review

2007-07-28T20:09:00.000+01:00

I agree with the review as it takes neither side, it narrows the film down to, "You simply appreciate this genre for what it is, or you don't." This is true in many ways, as this genre will appeal more so to Males than Females, it will only appeal to people who enjoy Art house influenced films. Sin City with it's odd graphics, intertwining narrative structure and gritty feel will appeal to a certain type of person, a person who appreciates certain directors, comics, actors and so forth.

Washington Post Review

2007-07-28T20:01:00.000+01:00

So Good, It's 'Sin'-ful

By Desson Thomson

Washington Post Staff Writer
Friday, April 1, 2005; Page WE43

Here goes: "Frank Miller's Sin City" is the hippest, darkest flick I've seen all year. It's not even April, mind you. So that was easy to say. But you get the picture. A movie composed of three edge-of-your-seat sagas, it's co-directed by Miller (the cool cat who wrote the 1991 graphic novel series that rocked a generation) and Robert Rodriguez, who made "El Mariachi" and "From Dusk Till Dawn." And Quentin Tarantino, the official pimp daddy of indie-chic, even gets to guest-direct.

Tarantino, incidentally, does a scene in which Dwight, a private investigator, played by Clive Owen, is stopped by cops at a very inconvenient moment. He happens to have his trunk loaded with severed body parts, and his passenger is sitting dead in the front seat with an all-but-severed head. But we are getting ahead of ourselves.

"Sin City" takes us to Basin City, where corruption is the order of the day and daylight never seems to last too long. The cops are dirty, the hookers are armed and empowered like gangstas, and the tough guys are built like brick houses but they still get beat up anyway. It's those sleazy bars they go to. And those dames they get hooked on. In a tough world like this, it's easy to fall in love. Gives them something to believe in.

Take Marv (Mickey Rourke), a sinewy fireplug of a guy. Laughs when cops or punks rip his face. Spits out blood nonchalantly when the cops give him the once-over. But melts like an ice pop in July when a goddess beauty (Jaime King) called Goldie drapes herself around him and takes him home. Marv wakes up to find her dead and spends the rest of his life looking for the killers who iced the love of his life.

Then there's Dwight. With emotional ties to his prostitute pals, he does everything he can to save them after the death of a group of cops threatens to provoke a brutal war between the call gals and the boys in blue. That's where the hacked body parts come in. But Dwight does it for love.

An unexpected romance proves to be the spiritual guiding light for John Hartigan (Bruce Willis), who's just about the only good cop in Sin City. After an 11-year-old girl is apprehended, he risks everything to save her from a dirty cop (Michael Madsen) and a bizarre sadist (Nick Stahl) with connections in high places.

These dramas of tough, almost bionic guys and elusive, slinky women are extreme versions of the underworld sensibility that has governed a billion crime novels and films noirs of the 1940s and '50s. Miller became a cult hero for such edgy, comic book creations as Elektra (the ninja assassin) and Ronin (a hard-core samurai figure). But the "Sin City" series was his pulp fiction masterpiece. The idea of making a movie of "Sin City" would seem to be an instant disaster -- how could a film do justice to the gritty idiosyncrasies of his work?

But with their translations of Miller's "The Hard Goodbye," "The Big Fat Kill" and "That Yellow Bastard," Miller and Rodriguez have achieved the near-impossible: reproducing the pictorial reality of those comic book stories onto the screen. Visually, this has been done with digital enhancement, darkly perfected sets and masterful makeup. The performers look part-cartoon and part-human and thoroughly convincing.

But all the visual splendor in the world means nothing without effective performances. The list of memorables is long: Rourke has found his greatest role since "The Pope of Greenwich Village." Willis is his usual authoritatively tough-and-tender self. Owen and Benicio Del Toro (as a menacingly jealous boyfriend named Jackie Boy) are outstanding. And Elijah Wood is so luminously creepy as the psychopathic Kevin, you'd swear he just sprang fully formed from an M. Night Shyamalan nightmare. And those are just the guys. The women are equally formidable, including Jessica Alba as Hartigan's icon dream girl; Rosario Dawson as an Uzi-packing hooker named Gail; Brittany Murphy as a savvy, tenderhearted waitress who links all three stories; and Devon Aoki as Miho, a deadly streetwalker who uses the same swords we enjoyed in Tarantino's "Kill Bill" movies.

Yes, "Sin City" is an orgy of cynical violence, but it's a winkingly surface grimness, just like its B-movie/pulp novel ancestors. You simply appreciate this genre for what it is, or you don't. Rodriguez and company have so faithfully captured Miller's essence, there's something beautiful about the whole thing. It's an act of inspired reverence. Whether or not the movie does well in its theatrical first run, it's a guaranteed must-see for its generation. "Sin City" has a long, long shelf life ahead.

Sin City clips on Youtube

2007-07-28T19:50:00.000+01:00

There aren't anymore clips on Youtube, all I seem to find are trailers and music videos.

Clip Analysis

2007-07-19T16:03:00.000+01:00

Media Language: A black and white effect to coincide with the film noir genre. Low-key lighting creates dramatic emotion within the scene, which emphasises shadows, lighting on the face. It also allows the one colour style to have a more dramatic effect.

Representation: Marv leaves the female character behind in the car which shows a patriarchal society as he 'has' to protect the weaker female. The female is also very thin, blonde, red lips which all show her feminitiy. Where as Marv is big, muscular, his face is cut up which all emphasize his masculinity. They both conform to stereotypes.

Ideology: Goes along with today’s idea of society, women are weaker then men and need them to save the day.

Narrative: Marv has to fight Kevin (the canibal guy) , he arrives at the farm with a blonde women, he makes her wait in the car, and he tells her to go if he doesn't come back in the next 20 minutes, which shows how a man has to save the day,

More stills.

2007-07-18T17:42:00.000+01:00

This still shows the black and white colours which are a convention of the film noir genre. As these films are detective films, the use of a razor blade, cigarettes and leather jackets all emphasise this.

The use of single colour to emphasise the characters blonde hair and red lips is a convention typical of Sin City's style. The character looks like a whore, rather than a madonna, as she has red lips and blonde hair which show's this.

This still shows a blonde haired women in a vintage car which immediatly creates the ideology of the 80's.

Sin City Stillls

2007-07-12T09:50:00.000+01:00

This still is of Bruce Willis who plays Hartigan in Sin City. This shot is a close-up which allows the audience to see his mood and emotion which is clearly serious and focused. Additionally, a scar is visible to the audience therefore creating an ideology of his tough persona. His face has deep grooves and wrinkles, along with stubble it shows his maturity. The black and white colours are present throughout the entire film, which conform to 'Film Noir' conventions. Although, Sin City uses the odd colour to emphasis a part of a person for example.

Clive Owen, known as Dwight within the film is a excellent example of Sin City's use of a singular colour. In this case, Dwight's eye's are the emphasis, they connote a coldness and show the audience his personality. Additionally, I feel as if they've chosen this colour as there is a sterotypical ideology when it comes to this colour, they saying normally goes, "Those old baby blues".

Sin City - Independant Study

2007-07-08T21:11:00.000+01:00

"Does the neo-noir genre continue to follow the representations of the classic film noir genre, with particular reference to ‘Sin City’ (2005)"

Media Language: A black and white effect to coincide with the film noir genre. Low-key lighting creates dramatic emotion within the scene.

Institution: Dimension Films a sub company of Miramax previously under Walt Disney produced this film with a large budget run by the Weinstein brothers who used this label to produce and distribute genre films, similarly ‘Kill Bill’ which is also a hybrid of Hollywood and Art-house film.

Genre: Neo-noir is incorporating aspects of film noir into newer contemporary films. Unlike classic noirs, neo-noir films are aware of modern circumstances and technology

Representation: The representation of men shows a patriarchal society, as all three protagonists are male. They dominate women throughout the film, where no female subverts stereotypes; women need men to save the day.

Audience: ‘Sin City’ appeals to a male audience who can identify with the male protagonist. The females within the film also appeal to the male audience and conform to the male gaze.

Ideology: Goes along with today’s idea of society, women are weaker then men and need them to save the day.

Narrative: The film subverts the typical Todorvian narrative structure. Three stories intertwine with one another; this makes the film more art-house rather than a mainstream genre film. ‘The Big Fat Kill’ shows the most female representation within ‘Sin City’, whereas the other two sub narratives have male protagonists.

--------------------------------

Social Context: Represents binge drinking and prostitution in a negative manner.

Historical: Film Noir films are stylish Hollywood crime dramas; particularly emphasize moral uncertainty and sexual motivation.

Economical: Large budget, similar to other Hollywood films.

Political:

--------------------------------

Other Texts:

The Big Combo (1955), USA, directed by Joseph H. Lewis
Blade Runner (1982), USA, Ridley Scott
Pulp Fiction (1994), USA, Quentin Tarantino
Reservoir Dogs (1992), USA, Quentin Tarantino

--------------------------------

Todorov: Sin City doesn’t follow Todorov’s theory. It has three different narratives, none of which are linear.

Laura Mulvey: Her theory can be easily applied as the prostitutes within the film comply with the idea of women being there to be looked at. Additionally, the idea of the male gaze is ever present throughout the film.

Propp: There is no specific characters role within the film as a whole, although singular narratives do comply with Propp’s character theory.

Barthes: The non-linear narrative means immediately the audience are drawn into an enigma. The beginning also gives away an enigma to the audience as someone is murdered, but the audience have no idea who or why this is happened.

Sin City

Independant Study - Final Draft

Works Cited

Books

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, Psychoanalysis’. London: Routledge, Chapman and Hall, Inc.

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.

Filmography

Self Evaluation

Goodness Gracious Me

First Draft: Revised.. Again

Works Cited

Books

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.

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.

Independant Study First Draft

Works Cited

Books

Bibliography

Kaplan, E. Ann (1998): ‘Women in Film Noir’. London: BFI

Johnston, Claire (1991): ‘Women’s cinema as counter-cinema’. Glasgow: SEFT

Introduction

Essay Plan Revised

Cosmo Girl x Elle Girl

Dr No. x Casino Royale

Essay Plan

Essay Plan"Does the neo-noir genre continue to follow the representations of the classic film noir genre, with particular reference to ‘Sin City’ (2005)"

Bold

Italic

Website Link

“The femme fatale, who had also transgressed societal norms with her independent and smart, menacing actions, would bring both of them to a downfall.” [N] http://www.filmsite.org/filmnoir.html

Although ‘Sin City’ does not have one protagonist the character of Hartigan can be identified as the most idealized version of the classic noir detective, as he is rugged, very manly and saves women time and time again.

Title

Elle x GQ

The Big Combo (1955)

Laura Mulvey Summary

10 Websites

Another 10 Keywords

Genre Theorists

The Cinema Book

The Cinema Book

Blog Buddy Meeting Summary

Book Research - Part 1

Task 9 - Blog Buddies

Task 9 - Blog Buddies

Blog Buddies

Self Evaluation

What is Neo Noir?

Genre Theory

Film Noir and Fiction site

More Keywords

Self Assesment

Clip Analysis

Delicious Links

Keywords

Blog Comments

Sin City - Media Representations

Media Audiences

Comparison - Similarities and Differences

Sin City Trailer

The Man Who Shot Sin City Article

The Man Who Shot Sin City

The review

Washington Post Review

So Good, It's 'Sin'-ful

Sin City clips on Youtube

Clip Analysis

More stills.

Sin City Stillls

Sin City - Independant Study

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.

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.

Essay Plan

"Does the neo-noir genre continue to follow the representations of the classic film noir genre, with particular reference to ‘Sin City’ (2005)"