Paint It Black: The Evolution of Film Noir

Still, most film critics believe that the Maltese Falcon (1941) is the beginning of the black movie wave, but Touch of Evil (1958) is the end of this type. Elements introduced by Malta's Falcon became an important element of later film black. The special element included in this movie is that the hero is alienated and immoral. Hostess joining the hero to make sure she gets what she wants is accompanied. At that time, most American film critics did not notice this highly stylized movie model which started in 1941 until Frank.

In 1970, an article by Raymond Durgnat appeared in UK magazine Cinema. "Drawing black: genealogy of black movies" is the first structural method of black movies, claiming "It is not a kind of western movies and gang movies, it leads us to the classification field through themes and tones" doing. With few dozens of pages, he adjusted through dozens of headlines, his family branches twisted and intertwined with each other. Ironically, the "family" of Durgnat is well known for truncated versions cut into two page charts printed by Film Comment in 1974. "It helps to 'reconsider' a black movie. "

A black movie literally means a black movie in French. The story of a dark theme has produced the same name, but many black movies have a very high contrast and shot black and white movies. This type of aesthetic influence includes German expressionism, its asymmetric tendency, and obviously the use of light and shadow (light and dark contrasts in painting and painting), different camera angles across black movies, front and side Contours that can see lighting, mystery and typical striped light are filtered through blinds of savvy detective office

Darkness is an important element in identifying elements of Noir in a movie. This type of lighting is often referred to as high contrast or "low key" illumination. Classic black-and-white film was initially implemented with a contrast of lightness for the budget of these works. They often pass under restricted lighting, but this type of lighting creates a feeling while providing performance-oriented aesthetic beauty for the movie. Black movies often become complicated, or rotate around mysteries and suspensions. This is not recognized and is in the shadow. This high contrast lighting is presented in a simple or several days' blood, as when Julian Marty (San Hedaya) requested the private detective Loeren Visser to kill his wife.