Film Noir (from the French meaning Black Film) is a genre of cinema that emerged during the early 1940s and continued until the late 1950s. It is characterised by it’s distintive stylisation of cinematography and it’s focus on crime, mystery and sex. Taking many cues from early German expressionism, Film Noir offered an immersive thematic experience that was very different to that of other contemporary melodramas. Several techniques and plot devices came to define the genre, including voiceovers, the inventive use of light and shadow, the protagonist’s need to seek out some truth, and the famed ‘femme fatale’ figure.
Except that noir isn’t really a genre of film, in the true sense of the word. It is a style that was only defined after its time had passed. It was a style that permeated crime drama, romance, and even westerns.
In honor of the release of Fast and Furious 6, here is the best car chase scene in the history of cinema from 1971’s The French Connection.
THR: You co-hosted the Oscars in 2010 with Steve Martin. What did you think of the reaction to Seth MacFarlane’s performance?
Baldwin: The Oscars is a completely thankless job. It’s really tough.
THR: So you wouldn’t do it again?
Baldwin: No. Never, never, never. And I enjoyed doing it. What the Oscars absolutely, unequivocally should be is a show with a little bit of entertainment and a very reverential overview of movies of that year. And that show would last about two hours, and it would be a very tight show with a lot of serious, cineastic appreciation. But the Oscars is also a television program that raises 90 percent of the Academy’s budget for the year in a single night. When the Oscars is three hours — when they bullshit you and say that the Oscars is running long, and that’s a problem — that’s not a problem. They’re making more money. So ABC and the Academy, they have no interest in doing a tight, better-produced show. They are forced, because of economic constraints, to have a flabby, tired show.
THR: And everyone who does it gets raked over the coals.
Baldwin: They need to gamble on the show, and they’re not gambling. I am a member of the Academy, but everyone who has done it lately has been crucified. So they’re not going to get anybody who is reasonably talented or special to take that chance anymore. They don’t pay you any money; the Oscars pay you like chicken feed. It’s all about the honor of helping to extol film achievement. But they’re going to have a tough time. I’m dying to see who they get to do it next year. They’re going to have to go dig someone up from a cemetery. They’re going to have to go dig up Bob Hope."
Women in Film
I have been waiting for these stats for many moons. (Holy SHIT 8% directors)
I’d also like to point out woman also go to movies more than men do. So you’re actually paying to be discriminated. If you want to see a change Stream It.
I am smiling so much right now about this.
Movies I have seen are bolded, and given a star rating out of 5 (unless they are experimental in nature; then I give it a (+) or (-) based on whether I liked it or not)
Check out my latest article on Feminspire.com about the rampant misogyny of last night’s Academy Awards:
The Oscars are about the Hollywood elite rewarding the rest of the Hollywood elite. Only very recently, starting in the late 1980s actually, did the television broadcast of the Oscars become more mainstream entertainment for the masses than a private party for Hollywood. As a result, we tend to forget the fact that at the end of the day, the Academy Awards are meaningless as a symbol of talent or merit, and all about the political nature of filmmaking.
Of course, with the development of mainstream interest in the awards comes the need to make the ceremony into a show in and of itself. To that end, the presentation is designed in an effort to appeal to viewers at home. That is the only explanation for the baffling decision to choose Seth MacFarlane, the creator of Family Guy and writer-director-star of the raunchy and offensive film Ted, to host last night’s show.
While the Academy Awards themselves have never actually been little more than a joke in terms of rewarding talent or celebrating those who deserve it, there is nevertheless a certain level of decorum and class that the Oscars should have. If Hollywood wants to see the award as legitimate, the show itself must be treated with the respect that the Oscar represents.
hollywood sure has an easy time finding brown and black people to play terrorists, thugs, drug dealers, gangsters, servants, “barbarians”, hypersexualized or desexualized caricatures but all of a sudden you need a lead role and
gosh where did they go i swear we put them here right after zero dark thirty??
my professor showed a scene from The Girl Can’t Help It with Jayne Mansfield walking down the street and making all the guys she passes turn their heads and get turned on.
We were discussing it in class, and we talked about context to look at influences in film history, etc. And I’m looking at how Jayne Mansfield attracts men with no knowledge of her sexual power. Then a guy in the class said she was openly flirting with all the men she passed.
What a great example of men putting the responsibility for their sexual urges on what a woman does, making her the one who must automatically know she is doing at all times and responsible for the male response, rather than men themselves deriving lust from a confident woman walking down the street. Making her confidence into overt flirting.
Quentin Tarantino, professional white savior here to save us all despite ourselves (for the price of admission of course)
OMFG is this real?
this racist prick
“I’ve always wanted to explore slavery.”
OH AND ALSO.
“I refuse your question. I’m not your slave and you’re not my master. You can’t make me dance to your tune. I’m not a monkey.”
fucks sakes quentin
Can someone please kick this fool in the face while wearing a pair of cleats? It’d make me really happy.
OMG this guy’s arrogance. Like…what the fuck…
Right, by using the N-word YOURSELF and thinking that is okay. By making the rescue of Broomhilda parallel siegfried and brunhilde from NORSE mythology - connecting the African American experience, something he will never comprehend, to white history. By using the horrible enslaving of an entire race into an exploitation film. Exploiting that horrible history for the purposes of white entertainment. By belittling the horrible institution by saying to a reporter who was insisting on having him discuss the connection between violence and entertainment, “I don’t have to. I’m not your slave.”
Tarantino has no right to exploit slavery and African American history for his exploitation-style cinema. Written and directed by a white man who feels comfortable using the N word on screen in Pulp Fiction. Feeling that it is appropriate for the writer-director to act in his own movie and take the part of the character who throws around the word like he has the right.
Because Tarantino feels like he has the right to say the word. Because he feels that he is doing a favor to African American culture, not only with Django Unchained but with all his films.
It is disgusting and unacceptable.
the only terrific film spielberg ever directed was hook
i am actually 100% serious right now
actually don’t care about the hobbit movie
doesn’t need to be split into three films at all, and digital cinema can kiss my ass