Film Noir: A Tapestry of American History

The attraction of black movies and the influence on the history of the United States is still elusive. On the backdrop of forced and fanaticism, these films left political and moral indelible signs to the global community, especially the American society. In the years before the United States entered the Second World War, the Noir movie including the stranger on the third floor (1940) and Maltese Falcon (1941) began to appear. It gradually developed into a movie style expressing the story of American suffering, romance, and social dissatisfaction during the war and after the war.

Some critics believe that classic black films are a unique cycle in the United States; for example, Alain Silver and Elizabeth Ward, "In the West, the difference between black movies and native American format is .. Perfectly American movie style. "However, the term" black film "was originally used to describe Hollywood movies, but it is an international phenomenon. Even before the universally accepted classical era begins, Hollywood, like Julian Duvivier's French made PépéleMoko (1937) and Le Jour selève (1939), can be regarded as a movie after review There was a movie far from. Director MarcelCarné. Furthermore, from 1946 to around 1952, in the Mexico era of vibrant black film came almost at the same time as black film flowered in the United States.

A black movie is a French brand of American movie phenomenon. It was not until France after the war that they were able to see many American movies. France observed the relationship between American film in the 1940s and literature called "Roman Black". That means dark literature and black movies mean black movies. This word was not used much in production, only French critics used it in the black era. This term is now widely used, but it is still a controversial topic. Film critics such as Higham, Greenberg, and Paul Kerr refer to black movies as types classified according to their common practices and expectations. For example, film critic Foster Hirsh said that the black title of the movie could be a "universal perception" to predict stories and predict black movies, violence, crime, and sexuality (NB a).

In 1979, I wrote the difference between black movies and American indigenous forms in the West. However, unlike Westerners, Westerners are mainly derived from existing literary genres and the American historical era, and black movie precedents are not very accurate. Therefore, the black cycle occupies a unique position in the short history of American movies. A group of movies not only presents a relatively coherent view of America but also presents in a way that transcends the influence or type of influence. Black movies are rooted in the creation of individuals, they do not change other traditions into movie terms. On the contrary, the black film independently reflects American culture and that concern at a certain point. Therefore, it is a unique example of a complete American movie style.