Communications in Humanities Research ISSN: 2753-7072
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Research Article

The Transition of Film Noir into a Genre of Crime Cinema

Ouyuan ZhongUniversity of Leeds*

* Corresponding author: [email protected]

Abstract

Some have underrated Film Noir due to some misconception that it is solely limited to black-and-white imagery. However, it encompasses much more than that. It supports an aesthetic and serves as a foundational pillar for crime cinema. This paper will use formal techniques such as diegesis, montage, mise-en-scène, camera angle, and camera movement to analyze two scenes from crime cinema. One example is The Naked City, a quintessential Film Noir that employs chiaroscuro lighting to accentuate the criminal narrative. Another illustrative instance is The Taking of Pelham One Two Three. The argument surrounding Film Noir and crime cinema reveals different depictions of geographical space, yet they share similarities in their representations of themes, including war trauma, masculinity, and class. The Naked City employs a straightforward approach to represent its unique landscape, effectively connecting external and internal spaces. The Taking of Pelham One Two Three uses transportation and currency symbols to establish distinct space connections. Both films, produced in the post-war era, allow for allegorical exploration of auteurs’ imagination and re-imagination through cinematic elements. These elements ambiguously craft narratives that intricately blend aesthetics and ideology. In this case, the transition of Film Noir into the realm of crime cinema influences the development of modern cinema.

Keywords: Film Noir; crime cinema; landscape; aesthetic; ideology
Published: December 7, 2023
DOI: 10.54254/2753-7064/18/20231105
Volume: CHR Vol.18
pp. 14-21
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