Drive Notes

Here are my notes I made on the analysis of the Neo-Noir
Drive. I found the film very interesting and effective in terms of shots and camera movement to accommodate the actors moves. In my previous post, I included my vocal analysis as well as some screenshots to show my interest and analysis of the film further.

Drive Analysis

As part of my research into Film and Neo-Noirs, I looked into the 2011 film, 'Drive', directed by Nicholas Winding Refn and decided to annotate the Trailer, in order to grasp some ideas for our own group project if we were to create a trailer with our footage. I also noted the conventions and obvious iconography surrounding the Noir genre, as well as sound, camera angles and the impressions each character gave to the audience from the short trailer. I also looked at transitions and connotations of colour, trying to make points on the most important areas of the trailer. I made a photo video with my recorded voice to show my notes and annotations.

Drive Trailer Analysis: 

http://www.youtube.com/watch?v=2SMpcqNh-W8&feature=youtube_gdata

L.A. Confidential Cover Analysis

In class, we printed off two different covers and annotated them according to the various codes and conventions found as well as mise-en-scene, camera angles, indications of colours and various intentions implied as forebodings in the plot in the film. 

We noted the various characters shown on the cover, as well as what was implied about the plot and the locations via the background i.e. Hollywood sign and White dress.

Annotated Pages - Dark side of the screen

I annotated these pages to gather some background knowledge from another source besides the internet. This not only gave me some more information and insight into the Film Noir genre, but also the various conventions that go hand in hand with the genre. This was an interesting source to look at and I highlighted key aspects that were significant to my research into the genre of film.

Example of Film Noir

After recently studying The Big Sleep (1939) by Raymond Chandler, I already have an idea of what Film Noirs are actually about and include. It has one of the most complicated storylines in Film Noir history. Even Raymond Chandler, the author of the book that the film was based on, once famously admitted he didn’t know the answer to all the plot twists and ends. In The Big Sleep Humphrey Bogart plays the famous detective character – Philip Marlowe. He finds himself employed by the sick General Sternwood, who also asks him to keep an eye on his daughter Carmen who has fallen in with a bad group of people. He is frequently distracted by her beautiful older Vivian Rutledge (played by Lauren Bacall). Events take a turn for the worse as people begin dying around Marlowe and he gets involved with powerful criminals, a pornography ring and several case of blackmail. The Big Sleep is an intoxicating affair that will keep the audience hooked, even after the story has stopped making sense.

General Sternwood: Do you like orchids? 

Philip Marlowe: Not particularly. 

General Sternwood: Ugh. Nasty things. Their flesh is too much like the flesh of men, and their perfume has the rotten sweetness of corruption. 

This quote retorts of General Sternwood (The oblivious protagonist who sets Marlowe about his business) and how he has subtley hinted at the classic convention of corruption amongst the Film Noir "style". He relates corruption to that of an Orchid - or specifically the scent - being "rotten sweetness" which in itself being an Oxymoron, is a harsh truth from the mouth of the wise, and dying Sternwood. He also classifies the whole male gender as being corrupt, which in the situation he sees himself and his daughters involved with, understandably could have poisoned his view.

Raymond Chandler was a dark horse of his time, and used a quote which can be applied to Film Noir's;

"There are shadows in the shadows". This represents not only the stark contrast of shadow, but also the characters, and how the corruption runs deep through the veins of the city in which the Film Noir is involved.

Codes and Conventions

The typical characters  that we see on screen, are in a prominent hierarchy throughout most Film Noirs. There is a blanket of corrupt cops, femme fatales, protagonists, detectives, as well as masterminds with money, gangsters and double crossers, in a downbeat, rain sodden quiet town. Film Noir’s are riddled with morally questionable protagonists, who embrace corruption and who are rarely portrayed in a positive light – also sometimes mentally ill, corrupt or having a criminal background/experience. A good example of this is Carmen Sternwood in The Big Sleep (Novel by Raymond Chandler).

The Film Noir style is distinct, specific and a favourite that features in most Film Noirs, including low key lighting, contrasted shadows and reflections of the characters which made it stylised of the era.

The iconography used is effective and memorable, such as the “stylish” cigarettes and cigars that cloud the characters thoughts. As well as physical object threat, which is the guns or ‘revolvers’. These are accompanied by the way the characters are dressed, in long trenchcoats and fedora hats for the men, or long gowns and pearls for the women. These props are memorable of the style and really create icons of the characters and the genre of Film Noir. The dark sidewalks and pouring rain help the sinister mood further within the films, and are similarly reinforced with the classic ice in crystal glass accompanied by alcohol (primarily Whiskey).

Furthermore, the use of light through the venetian blinds that creates a classic effect of a contrast between the light and dark sides of the characters.

The themes surrounding Film Noir seem constant and obvious. Often the cities are run by a corrupt society – narrative theme of Corruption – which includes double crossing villains, lies and numerous affairs. Another constant theme to coincide with the murders is the recurring “Whodunnit” theme.

Many settings are normally within urban settings, primarily major US towns such as LA, New York and San Francisco. Various scenes are often shot in Bars to show sophistication and upper class which is prominent in Film Noirs, as well as Mansions and Gambling showing wealth as well as risk.

The plot can also use flashbacks to gradually reveal more to the audience, as well as a voiceover narrator – An example of this is Walter Neff in Double Indemnity.

The Sound used within Film Noir’s is classically Jazz, however the use of Strings i.e. Violins, is also effective. The music is a sophisticated style to comfort the audience, although similarly, the absence of music has the powerful ability to make situations awkward and uncomfortable for both the characters and the audience. Furthermore, the use of sudden noises keeps the audience on edge and eager to the plot.

The camera angles and shots are manipulated around the characters, which is poignant within the style making the camera seem to be part of the action; including high and low angle shots to make the audience feel uncomfortable, as well as extreme close ups to show the severity of situations. Often obscuring angles  (dutch/canted) are used to make the audience as well as the characters seem uncomfortable. Similarly, A deep focus reveals shadows and enhances dark corners of rooms. Also, the use of irregular framing gives the stylised edge that Film Noirs need, and are classically expected to have. The characters are represented via reflections, representing weakness often, which is alongside jump cuts as well as jarring juxtaposition.

Further Film Noir Introduction

Film Noir literally translates as ‘black film’ . Initially developed by French Film Critics, first notably by Nino Frank in 1946. They noticed the recurring dark, drab and downbeat stylised American crime and detective thrillers during that era, especially following the War. There was a wide range of films which reflected tensions, issues and unresolved conflicts, which also inevitably effected the previous optimism of Hollywood’s musicals.

There are many recurring noticeable narrative themes which were clearly represented in Film Noir’s such as fear, paranoia and despair. Original Film Noir’s similarly reflect the Cold War, where threats of annihilation were ever present, making clear appearances within.

In Film Noirs, on rare occasions, the endings are optimistic. This is due to the perspectives of the anti-heroes, which imply from the outset that everyone is doomed to death. Their ideals are of a criminal nature, with strong implications of greed. They themselves exist within the Film Noir as strong metaphors for the society (at the time) and it’s evils. These evils coincided with a strong undercurrent of moral conflict and commonly injustice.

  

“Classic” Film Noir prominently was crafted during and after World War II, often including the post-war impressions of anxiety and pessimism. Classically styled in black and white, this relates to the time period, evolving primarily in the 1940s. It rapidly became a prominent mood and style of film and lasted in the notable “Golden Age” until around 1960.

Film Noir is not classified as a type of genre, but more a style and mood of film. Often, it has been noted that ‘film noir’ refers to a distinct historical period i.e. the decade of film making after World War II.

The first classified Film Noir films weren’t immediately known to be labelled as that genre. The producers who made Film Noirs, didn’t use the label as such would for ‘Western’, as they weren’t aware that their films were that particular style.

The main plot of a majority of Film Noirs, revolves around a sinister detective on the brink of corruption, who has little to none will power, and is consequently seduced by the illusive Femme Fatale, with a murder/robbery/ crime of some sort in the middle. As women during the war period were given independence and better job power, they would suffer (on screen) in these films, classed as Film Noirs.