Louis Lumière: inventor of cinema

cool article on the guy who invented "film" and the first films from 1895.


https://www.yahoo.com/movies/louis-lumiere-turns-150-celebrate-the-anniversary-of-99344226532.html

Truffaut Interviewing Hitchcock

Love this website!

Listen to 12 Hours of François Truffaut Interviewing Alfred Hitchcock for Free

http://nofilmschool.com/2014/08/francois-truffaut-interview-alfred-hitchcock

Twin Peaks Returns

David Lynch Fans:

http://tvline.com/2014/10/06/twin-peaks-showtime-cast-new-episodes-spoilers/

LOST HIGHWAY

I thought you might enjoy taking a look at some material from tomorrow night's film, David Lynch's "Lost Highway."

in case you ever make your own film noir

in case you ever make your own film noir and want to know how to light it.

they also mention Chinatown as a "perfect film". 

http://nofilmschool.com/2014/06/rules-of-film-noir-how-to-light-it

and one of my favorite sites:

http://nofilmschool.com

Paper Guidelines

There are several things you can discuss in your paper that relate to the novel you read and the film version of it.  This is an open paper when it comes to subject matter.  It can be a combination of research, review and analysis.  You can:

• ·         Discuss the background and history of Hard Boiled (Noir) fiction.
• ·         Talk about the author and how he (or she) was accepted during his career.
• ·         Review the general plot of the story.
• ·         How does the novel differ from the film version?
• ·         Do the changes in the film version work to the benefit of the story?
• ·         Are there omissions or additions?
• ·         How does this novel (and film) reflect the themes and types of Film Noir.
• ·         Discuss your general opinions of these works and why they do or do not work effectively.

You can deal with any or all of these topics.  Please feel free to add other areas as you see fit.  Please use citations where needed.  They will also reflect the depth of your research.

Four Rooms

https://www.youtube.com/watch?v=BmEo-0zvGq0

I watched this movie over the weekend and thought it was really great!

The opening credits animation of Four Rooms. A Segment movie directed by Allison Anders, Alexandre Rockwell, Robert Rodriguez and Quentin Tarantino. Starring among others Tim Roth, Lili Taylor, Jennifer Beals, Antonio Banderas and Bruce Willis.

roger ebert & film noir

roger ebert's guide to film noir. i also found the comments interesting. the last one made me think - that not like the other films we saw - i don't think a Touch of Evil had a femme fatale, but Grifters had 2. 

http://www.rogerebert.com/rogers-journal/a-guide-to-film-noir-genre

True Romance

https://www.youtube.com/watch?v=uYE-qg4RBO0

Another NioNoir Favorite with a semi happy ending.

Natural Born Killers

https://www.youtube.com/watch?v=yPlKOpkPM4II love this movie and this is one of my all time favorite songs.  Enjoy!

I enjoyed Scarlet Street.  I haven't yet figured out how the movie got its title.  I did find this movie review from 1946 about the movie initially being censored.

Scarlet Street (1945)

THE SCREEN; Dan Duryea, Edward Robinson, Joan Bennett at Criterion in 'Scarlet Street'--'Tars and Spars' New Bill at the State

By BOSLEY CROWTHER

Published: February 15, 1946

http://www.nytimes.com/movie/review?res=9900E1DD1339E53ABC4D52DFB466838D659EDE

The Production Code of 1930 - Hays Code

Here it is.  This is the first version of a Production Code of conduct that the movie industry imposed on itself in response to the fear of future government censorship.  Filmmakers still told the same "sinful" stories but learned how to smuggle in the various taboos.  Thus everyone, young and old, gained exposure to the "corrupting influence" of Hollywood.

The Hays Code

Read it and enjoy.

WILL HAYS - GUARDIAN OF PUBLIC MORALITY

(keeping his ears open for the sounds of sin)

VAL LEWTON & HORROR NOIR

Val Lewton was a producer at RKO in the 1940s.  His B-movie unit was responsible for turning out 9 classic horror movies.  Many consider these to be strongly in the tradition of Film Noir.  The first three were helmed by Jacques Tourneur who directed last week's in-class viewing, "Out of the Past."  The following scene is from the initial outing in this horror/noir cycle, "Cat People."  (The quality of this clip is good enough to be enjoyed on "full screen" mode.

We are watching a Lewton film in class this week, "The Seventh Victim."  Here is a trailer.

Double indemnity

I watched this movie last night and did not find the awesomeness as expressed by so many.  Out of the Past was such a superior movie in so many ways.  I look forward to watching the movies to come especially the one n the horror genre.

Great article and I really enjoyed the first movie, Double Indemnity. I love how Neff always called her "Baby" rather than using her name when speaking to Phyllis.

Also and interesting video below to watch. Long but even only watching a few is worthwhile.

http://www.amazon.com/Film-Noir-Trailers-Behind-Scenes/dp/B005IKYGO8/ref=sr_1_1?ie=UTF8&qid=1408627760&sr=8-1&keywords=film+noir+trailers

Notes on Film Noir - Paul Schrader

One of the most famous and influential articles on Film Noir was this one written in the 70s by Paul Schrader, a film director and the writer of "Taxi Driver" among many others.

Notes on Film Noir

Here is also a clip with him briefly discussing the subject.  All six sections of the interview are available on YouTube.

https://www.youtube.com/watch?v=nUhP1o_iXYE

Class starts in a week and this is a good general introduction to the subject.

SYLLABUS FOR PEL - FALL 1

Film-206H – Film Genres - Film Noir: America in Transition 1940-1960

PEL Fall I - 2014

Instructor: Tom Hammond

Contact: hammontm@eckerd.edu, 813-900-4759

Office hours: before and after class or by appointment

Classroom: Tampa 

Course description:  This course surveys the Classic Era of American Film Noir, which lasted from 1941 to 1958.  Study of this important period in cinema history is primarily concerned with the nature of a growing darkness in subject matter and a fatalistic outlook concerning narrative themes.  Did this represent the introduction of a specific and new genre of film or merely a stylistic trend?  We will study the cultural, social and political underpinnings of this movement and how they influenced not only this period in motion pictures, but how the art, literature, music and philosophical ideas of this era contributed to its development.  Our studies will also cover “Neo- Noir” of the modern period.  

Text:  More Than Night:  Film Noir in its Contexts – James Naremore

Netflix Subscription:  You will be required to view some films outside of class.  All of these assignments will be streamable on Netflix.  A monthly subscription costs $9.  The first month is usually free.

Course Requirements: One essay, a final exam, weekly summary papers, random quizzes, attendance and participation. 

A film journal and blog postings may be submitted for extra credit.

Grade Distribution:

Essay -                        30%

Final Exam -              30%

Att. & Part. -               40%  (weekly summary papers included in this)

Extra Credit -                         (+10%)

Essay:  You will write a paper (4-6 pages) on a film adaptation of a literary source.  You will read a novel and then view the movie based on it.  Discuss the nature and degree of success of the adaptation and how it relates to areas of our studies.  A list of subjects to select from is provided in this syllabus under the heading: “The Hardboiled Tradition – Novels to Film”.

Final Exam – A review of all materials will be conducted one week before the test.

Quizzes – Random quizzes will verify your home viewing and reading assignments.

Attendance and Participation:  Each week you will be assigned a film for home viewing and a reading from the textbook.  Come to class with a one page paper containing your comments and any questions you might have about the film.  These short papers will be used as an attendance record.  Any pattern of absence will adversely affect your grade.  Come prepared to discuss your viewings and readings.

Extra Credit Opportunities – Journal & Blog

A journal of all your outside film viewings and readings, other than those assigned, can be handed in at the end of the term.

            -ALSO-

You will be invited to become an author on the class blog: www.filmnoirfan.blogspot.com.  You can post on subjects covered in class and comment on the postings of other students.  Film reviews, research, clips, trailers, stills and links of interest all qualify for credit.

Disabilities Accommodations:  If you have a disability or believe that you qualify for accommodations under the Americans with Disabilities Act or other laws, please contact Disability support Services at ext. 8248 or via email at dss@eckerd.edu as soon as possible.  Appropriate accommodations can only be arranged through that office, and may not be made retroactively.

Academic Dishonesty Policy:  students should familiarize themselves with Eckerd College’s policy on academic dishonesty.  Information can be found at: http://www.eckerd.edu/library/services/plagiarism/ec-policies.php

Class Schedule

(All readings are from “More Than Night: Film Noir in its Contexts.”)

Week 1

            Lecture subject: Discovery, Identification & Definitions

Introductory screening: “Film Noir: Bringing Darkness to Light”  

            Class screening: “Out of the Past”

            Viewing assignment: “Double Indemnity”

            Reading assignment: Naremore, Chapter 1

Week 2

            Lecture subject: German Expressionism: Noir & Horror

            Class screening: “The Seventh Victim”

            Viewing assignment: “Scarlet Street”

            Reading assignment:  Naremore, Chapter 2

 Week 3

            Subject of the term paper is due for approval.           

            Lecture subject: Pulp Fiction & The Hardboiled Tradition  

Class screening: “The Maltese Falcon”

            Viewing assignment: “The Grifters”

            Reading assignment: Naremore, Chapter 3

Week 4 

            Lecture subject: Narrative & Visual Motifs in Film Noir

            Class screening: “Touch of Evil”

            Viewing assignment: “Raw Deal”

            Reading assignment: Naremore, Chapter 4

Week 5

            Lecture subject:  Society & Politics   

            Class screening: “Chinatown”

            Viewing assignment: “Devil in a Blue Dress”

            Reading assignment: Naremore, Chapter 5

Week 6

            Lecture subject:   Existentialism & Film Noir 

            Class screening: “Sunset Boulevard”

Viewing assignment:  “Gun Crazy”  

            Reading assignment: Naremore, Chapter 6

Week 7

            Review for exam

            Lecture subject: Neo-Noir

            Class screening: “Lost Highway”

            Viewing assignment: “The Long Goodbye”  

            Reading assignment:  Naremore, Chapter 7

           

Week 8 – Final Exam

            Research Paper Due

            Lecture subject:  Neo-Noir 

            Class screening: “Dead Men Don’t Wear Plaid”

             

The Hardboiled Tradition – Novels to Film

(   ) denotes a different title for the film – or – a particular version

Dashiell Hammett

·         The Maltese Falcon

·         Red Harvest (Yojimbo, A Fistful of Dollars, Last Man Standing)

Raymond Chandler

·         The Big Sleep (1946 film version)

·         The Long Goodbye

·         Farwell, My Lovely (Murder, My Sweet)

James M. Cain

·         The Postman Always Rings Twice (2 film versions)

·         Double Indemnity

·         Mildred Pierce (1945 film version)

Cornell Woolrich (aka William Irish)
Black Alibi (The Leopard Man)

·         The Night Has a Thousand Eyes

Mickey Spillane

·         Kiss Me Deadly

Jim Thompson

·         The Grifters

·         The Killer Inside Me (2010 film version)

·         The Getaway (1972 film version)

Horace McCoy

·         They Shoot Horses, Don’t They?

·         Kiss Tomorrow Goodbye

David Goodis

·         Dark Passage

·         Down There (Shoot the Piano Player)

William Lindsay Gresham

·         Nightmare Alley (1947 film version)

Barry Gifford

·         Perdita Durango (Dance With the Devil)

James Ellroy

·         L.A. Confidential

Film Noir – Required Viewings

The Maltese Falcon – 1941

The Seventh Victim - 1943

Double Indemnity – 1944

Scarlet Street – 1945

Out of the Past – 1947

Raw Deal – 1948

Gun Crazy – 1950

Sunset Blvd. – 1950

Touch of Evil – 1958

The Long Goodbye – 1973

Chinatown – 1974

Dead Men Don’t Wear Plaid – 1982

The Grifters – 1990

Devil in a Blue Dress – 1995

Lost Highway – 1997

Film Noir: Bringing Darkness to Light – 2006

In-Class Viewings - PEL, Fall 1 - 2014

Here are theatrical posters for the seven films we will be watching in class.

"The Maltese Falcon" (French poster)

"Out of the Past" (insert poster)

"Gun Crazy" (three sheet poster)

 

"Sunset Boulevard" (Polish poster)

"Touch of Evil" (Belgian poster)

"Chinatown" (Japanese poster)

"Blue Velvet" (one sheet poster)

Kiss Me Deadly - on set photos

Here is a link to some cool on-the-set photos from "Kiss Me Deadly" showing director Robert Aldrich and the actors among others.  Enjoy.

http://www.criterion.com/current/posts/1894-making-kiss-me-deadly

The Film Noir Fan: Nightmare Alley

The Film Noir Fan: Nightmare Alley: I thought this movie had a great story line. I think the ending that Mr. Tom stated in class would have been a better one for the m...

Sometimes a person is on top of the world with everything
going for them and then a moment later they drop like a waterfall. The rock
sinks to the bottom. Just like Stanton “Stan” Carlisle.

Nightmare Alley

I thought this movie had a great story line. I think the ending that Mr. Tom stated in class would have been a better one for the movie. The part when the psychiartrist said that he had been hallucinating and there was no money was a long shot for me. I did not think that he would have believed the psychiartrist so easily, especially when his wife was waiting for him in the train station and she could have confirmed the truth to him.

When You're Slapped, You'll Take It & Like It - The Maltese Falcon (3/10...

The Hays Code (1930)

Here is a link to the text of the Production Code of 1930.  It was fully instituted in 1934 and filmmakers spent much energy trying to get around it until the 1960s when it finally died a slow death.  The system imposed by the industry after that was the one we have today; the MPAA with its G, PG, R and NC-17 ratings.  Enjoy.

http://www.artsreformation.com/a001/hays-code.html

2 Val Lewton Classics

Here are some stills from the two movies we are going to watch during the next class session.  Both are from producer Val Lewton: ""The Leopard Man" (dir. Jacques Tourner) and "The Seventh Victim" (dir. Mark Robeson).  As you can see they are films filled with anxiety, dread, isolation and darkness; all elements of Film Noir.