Sunday, 8 November 2015
Test screning.
After filming and editing a short noir film featuring two student leads, the importance of camera placement and lighting became clear not only in shots but also in the editing of the film itself. With the use of two lights: the key light and the fill light we were able to make a small scene which consisted of the actors and some general objects being a table and a coat hanger. The lights were set directly at the scene, the key light being directed to our main male lead and the fill light softened over our main female lead. The camera followed the 180 degree rule and remained on the right hand side of the scene. However a change of direction could have been done by panning to the opposite side. By using a moving shot the scenes angles can change without breaking this rule. To complement this rule when editing shots, to prevent a quick shot the angle change must surpass 30 degrees. The editing of the noir was just as important as the filming as it is important to not only apply those rules but to do so in an effective way. The original film shots were in colour but were changed slightly by saturating the shot but to a certain degree that allowed views to see hints of colours. The main issue presented itself as audio as at points voices would be lost or would become overpowering which is believed to be down to the camera itself. Audio was an acoustic song so the conversation was not tainted and remained the centre part of the scene. Furthermore, edits consisted of actual frame changes and camera angles with the aid of the iMovie to zoom, crop and change shots.
Case study:Third man
The Third Man was a film made in 1949 but is a British-American film noir. It was written by Graham Greene and the book was released around the same time as the noir.
The film is about mainly the death and return of the character Harry Lime however Lime is not the main character Martins is. There is this constant air of superstition for Martins as he takes a long time trying to unravel Limes 'death'. Over time Martins becomes close to a range of character in some good and some bad ways, these include Calloway and the female lead Anna Schmidt. Eventually as time passes Martins begins to realise Lime isn't actually dead which leads to a series of meetings and eventually Limes actual death.
This noir is also black and white and works with narration at some points of the film. There is a fair chunk of dark humour but is countered with the almost constant use of light music. With the location of the film being Vienna, Austria the film is very multicultural but at times did show small amounts of racism about and some homosexual suggestions.
It is very symbolic towards bad luck as shown as Limes 'accidental death' and Martins stumbling in on his funeral when he was offered a place by the very person. There is the classic element of alcoholism and smoking throughout mysterious scenes. Arguments lead to fast paced conversations and camera shots but regular scenes such as normal conversation slowed down the plot entirely. There is the use of echo's in chase scene and overwhelming shadows to work hand in hand with them which leads to a multitude of transitions. Finally leading to the repeat of the first scene.
The film is about mainly the death and return of the character Harry Lime however Lime is not the main character Martins is. There is this constant air of superstition for Martins as he takes a long time trying to unravel Limes 'death'. Over time Martins becomes close to a range of character in some good and some bad ways, these include Calloway and the female lead Anna Schmidt. Eventually as time passes Martins begins to realise Lime isn't actually dead which leads to a series of meetings and eventually Limes actual death.
This noir is also black and white and works with narration at some points of the film. There is a fair chunk of dark humour but is countered with the almost constant use of light music. With the location of the film being Vienna, Austria the film is very multicultural but at times did show small amounts of racism about and some homosexual suggestions.
It is very symbolic towards bad luck as shown as Limes 'accidental death' and Martins stumbling in on his funeral when he was offered a place by the very person. There is the classic element of alcoholism and smoking throughout mysterious scenes. Arguments lead to fast paced conversations and camera shots but regular scenes such as normal conversation slowed down the plot entirely. There is the use of echo's in chase scene and overwhelming shadows to work hand in hand with them which leads to a multitude of transitions. Finally leading to the repeat of the first scene.
Case study: Double Indemnity
Double Indemnity was a film directed by Billy Wilder in 1944 and is an American based noir. The film was based of it written half which was made in 1943 and written by James M.Cain. It lasted a totals of 1hr 50 minutes of which the audience is shown many screen effects to add to the main plot of the film.
The film is about a salesman(Walter) who encounters a unique sales opportunity with a clients wife (Phyllis) which leads Walter to aid the femme fatale in her devious plot to rid herself of her husband. With the opportunity to double the pay-out from her husbands death by having him die on public transport the two get underway with their plan. The husbands death is ultimately done by Walter but is perceived as an accident on the husbands part. This leads to the questioning of Walter and Phyllis when the collection for the money comes around due to the brief time the insurance was set up naturally raising suspicion. The two have their last battle with fate leading Phyllis to shoot at Walter but not killing him but Walter to kill Phyllis.
The noir is black and white as it is one of the earlier film noirs created that has been watched by our group and relies heavily on plot and classic film noir features. There are very few locations used in the film keeping the audience draw to plot and character development throughout the film. With having few locations and strong black and white, the film is able to almost show a sub plot of each of the characters b their clear shadows aided with the constant smoking of certain characters. They also use long lasting camera angles to slow scenes down and just draw the audience into conversation. Conversations are long and fast paced which alternates from the long camera shots taken in conjunction to the scene. As any classic noir goes the plot leads or unravels a murder but double indemnity gives an entire narrative almost consistently even during the darker times of the film. There is also a suggestion of abuse between Phyllis and her husband at the time and because of this wants him dead- also because she gets a large sum of money to go with it.
The film is about a salesman(Walter) who encounters a unique sales opportunity with a clients wife (Phyllis) which leads Walter to aid the femme fatale in her devious plot to rid herself of her husband. With the opportunity to double the pay-out from her husbands death by having him die on public transport the two get underway with their plan. The husbands death is ultimately done by Walter but is perceived as an accident on the husbands part. This leads to the questioning of Walter and Phyllis when the collection for the money comes around due to the brief time the insurance was set up naturally raising suspicion. The two have their last battle with fate leading Phyllis to shoot at Walter but not killing him but Walter to kill Phyllis.
The noir is black and white as it is one of the earlier film noirs created that has been watched by our group and relies heavily on plot and classic film noir features. There are very few locations used in the film keeping the audience draw to plot and character development throughout the film. With having few locations and strong black and white, the film is able to almost show a sub plot of each of the characters b their clear shadows aided with the constant smoking of certain characters. They also use long lasting camera angles to slow scenes down and just draw the audience into conversation. Conversations are long and fast paced which alternates from the long camera shots taken in conjunction to the scene. As any classic noir goes the plot leads or unravels a murder but double indemnity gives an entire narrative almost consistently even during the darker times of the film. There is also a suggestion of abuse between Phyllis and her husband at the time and because of this wants him dead- also because she gets a large sum of money to go with it.
Tuesday, 3 November 2015
Questionaire
These are the results from a large group discussion between a group of students who are now aware of the genre of film noir.
1.)Were you aware of film noir before it was presented to you?
Results-
No one was aware of film noir until it was presented to them.
2.)What is it you like about film noir?
Results-
-Presented as suggestive rather than explicit.
-Lighting
-The idea of flawed heroes and that clear challenge between a character and the clear flaws.
-The over relation you can draw from individual characters.
-Plot twists.
-Shots and sequences.
3.)What do you like about neo-noirs compared to classic noirs?
Results-
-Shots and overall cinematography that can occur due to modern technology.
-More shocking and modernised.
-Not as suggestive and more blunt.
-Deals with more modern issues so the plot is more relatable.
-Modern audio used.
-
4.)Which do you prefer? Neo noir or classic noir?
Results-
-In enjoyment:
-8 People for neo-noir
-2 People for classic noir
-Appreciation:
-9 people for classic noirs
-1 person for modern noirs
5.)Which do you prefer to have in film noirs?violence or romance?
Results-
-Votes
-6 people for violence
-4 people for romance
Explanations-
-Romance leads to violence so they walk hand-in-hand with one another.
-Difficulty in making a film realistically romantic.
-Pure violence is not enjoyed for most audiences, variation between the two is best.
-Violence is easier to achieve in films realistically.
6.)Is dark humour in noirs effective?
Results-
-Votes
-10 people for dark humour
-No one completely against dark humour
Explanation-
-Length is the main element that determines if and how much dark humour is presented in a film.
-The idea of this humour must work alongside the plot of the film.
7.)Are flashbacks an effective tool to add dimension to a film?
Results-
-10 people for flashbacks
-No one completely against the idea of flashback
8.)Film noirs are usually presented as black and white, do you think this adds or draws away from noirs?
Results-
Preference of black and white to neo noirs
-Black and white film noirs received 9 votes.
-Neo noirs received one vote.
Explanation-
-Black and white are simply easier to pull of if you want to focus directly on progression and plot.
-Black and white noirs have more flexibility as there is no need to focus on the importance of colours and only that the shot itself can be seen without static.
-Black and white noirs can sometimes have difficulty in creating modernism
-It depends almost entirely on the plot of the noir.
These results show me what people enjoy when it is done effectively and works well with plot line. However, this is for a very set target audience of young adults and teens so may not necessarily apply to other audiences. This also shows that the audience of younger ages are not as aware of this classical style in film noir and so results may be tainted in some ways due to lack of knowledge.
1.)Were you aware of film noir before it was presented to you?
Results-
No one was aware of film noir until it was presented to them.
2.)What is it you like about film noir?
Results-
-Presented as suggestive rather than explicit.
-Lighting
-The idea of flawed heroes and that clear challenge between a character and the clear flaws.
-The over relation you can draw from individual characters.
-Plot twists.
-Shots and sequences.
3.)What do you like about neo-noirs compared to classic noirs?
Results-
-Shots and overall cinematography that can occur due to modern technology.
-More shocking and modernised.
-Not as suggestive and more blunt.
-Deals with more modern issues so the plot is more relatable.
-Modern audio used.
-
4.)Which do you prefer? Neo noir or classic noir?
Results-
-In enjoyment:
-8 People for neo-noir
-2 People for classic noir
-Appreciation:
-9 people for classic noirs
-1 person for modern noirs
5.)Which do you prefer to have in film noirs?violence or romance?
Results-
-Votes
-6 people for violence
-4 people for romance
Explanations-
-Romance leads to violence so they walk hand-in-hand with one another.
-Difficulty in making a film realistically romantic.
-Pure violence is not enjoyed for most audiences, variation between the two is best.
-Violence is easier to achieve in films realistically.
6.)Is dark humour in noirs effective?
Results-
-Votes
-10 people for dark humour
-No one completely against dark humour
Explanation-
-Length is the main element that determines if and how much dark humour is presented in a film.
-The idea of this humour must work alongside the plot of the film.
7.)Are flashbacks an effective tool to add dimension to a film?
Results-
-10 people for flashbacks
-No one completely against the idea of flashback
8.)Film noirs are usually presented as black and white, do you think this adds or draws away from noirs?
Results-
Preference of black and white to neo noirs
-Black and white film noirs received 9 votes.
-Neo noirs received one vote.
Explanation-
-Black and white are simply easier to pull of if you want to focus directly on progression and plot.
-Black and white noirs have more flexibility as there is no need to focus on the importance of colours and only that the shot itself can be seen without static.
-Black and white noirs can sometimes have difficulty in creating modernism
-It depends almost entirely on the plot of the noir.
These results show me what people enjoy when it is done effectively and works well with plot line. However, this is for a very set target audience of young adults and teens so may not necessarily apply to other audiences. This also shows that the audience of younger ages are not as aware of this classical style in film noir and so results may be tainted in some ways due to lack of knowledge.
Sunday, 1 November 2015
Script/Screenplay for 'Take a closer look...'.
FADE IN:
EXT. AN OPEN STREET- EARLY DAY
A quiet street with little to no activity.
A few people walk by clearly talking with one another but show no interest in anything other than themselves.
KAITLYN walks past them at decent speed, looking around at her surroundings as she is on patrol.
She is wearing a lab coat as she makes her way to her work place.
She is drawn to a sudden crackling noise coming from her radio and draws it closer to her ear.
A manly voice begins to inform Kaitlyn about a case.
MATT
(Monotone in voice)
Murder on Black Street…
(Crackling on the radio)
Kaitlyn to the scene of the crime, we are sending some of our best men to meet you there.
(The radio cuts and silence falls)
Kaitlyn begins to move quickly out of the scene to reach the crime.
CUT TO:
EXT. A SECLUEDED FIELD- EARLY DAY
We follow Kaitlyn as she moves toward the dead body.
She is acknowledged by two police officers who simply nod to allow her passage.
The two police men stand guard over the scene but allow Kaitlyn to do her job without disruption.
Kaitlyn examines the body first to find a gun shot on the body close to the left shoulder and takes a swab.
Upon taking the swab she notices a bullet still stuck in the shoulder and carefully picks it out, placing it into a sealed bag.
Kaitlyn takes a few more moments to examine the scene and finds nothing else that is noticeable.
Kaitlyn walks up to the two police guards and taps one on the shoulder lightly.
He turns to her to speak
POLICE OFFICER
We all done here?
KAITLYN
I’ve got what I need, nothing else left to see.
The police officer nods and walks towards his partner ready to leave and begins to move.
KAITLYN
One of you should stay, the killer may return.
One stays put whilst the other leads Kaitlyn toward the car.
The scene ends with Kaitlyn slamming the car door shut.
CUT TO:
INT. A SMALL OFFICE SPACE- DAYTIME
Kaitlyn enters to see CHRISTIAN and ARTHUR the newest additions in the police force.
She sees Christian searching for something but takes no notice upon approaching him.
KAITLYN
(Jokily)
Being useless as usual are we boys?
CHRISTIAN
(Quite harsh)
Hey! So were the useless ones huh? We’re out there saving lives while you poke at the dead!
KAITLYN
My relationship with the dead is still better than the one I shared with you!
Arthur sits as he watches the poison the two spit between them.
CHRISTAIN
Whatever! Crawl back to your lab where you can’t bother anyone, it would be best for everyone if you pissed off!
KAITLYN
(Spiteful)
For once I’ll do as you ask, purely because some of us have jobs to do. Don’t think you’ve won though, some of us change this city, others… well…
Kaitlyn looks down at Christian as she speaks her piece.
Kaitlyn begins to walk away from the two but pauses as she hears Christian.
CHRISTIAN
Yeah well at least I have friends, the only company you have is the dead.
KAITLYN
Yeah because they don’t whine like little girls unlike some.
We hear Christian huff and puff about her last comment.
CHRISTIAN
(Shouts)
Fuck you!
Kaitlyn walks back over to Christian.
KAITLYN
Oh shut up give me your gun you little woos, or do I have to beat it off you?
Christian hands her the gun huffing and puffing.
CHRISTIAN
Fine but don’t flatter yourself, I’m only giving it to you because… well because you know…
KAITLYN
Whatever…
Kaitlyn walks off with her middle finger pointed towards Christian.
CHRISTIAN
She just grind my fucking gears…
Christian walks out of shot.
CUT TO:
INT. A SMALL LAB- DAYTIME
Kaitlyn walks through the door and sets her evidence down next to each other, microscope already set and ready.
She grabs a cotton bud and begins work on the blood swab she took to identify the victim.
She gathers as much as possible from the swab and prepares a slide to observe the blood.
She takes the notes on her findings in a small note book and continues onward to the bullet.
Kaitlyn moves the gun out of her space to the side temporarily.
KAITLYN
Why did I ask for this damn thing?
She uses a separate bud to swipe the bullet and rolls the tip of the bud across a separate slide.
She notices it as a police bullet by the engravings and appears worried.
KAITLYN
(Quietly to herself)
Shit! He’s one of us…
She takes a look at the barrel of the gun matching the engravings of the bullet to Christian’s exact gun.
KAITLYN
I knew he was a bit off today.
She begins to exit the lab to escape Christian at the work place.
CUT TO:
INT. A SMALL OFFICE SPACE- LATER IN THE DAY
Kaitlyn is moving quickly through the office and draws Christian’s attention.
Christian notices Kaitlyn’s jumpy stance and moves towards her.
CHRISTIAN
(Questioning)
Where ya goin? We’ve still got a couple hours ‘till the end of the day.
KAITLYN
(Distressed)
Yeah well I’ve been… called out on another errand. So I’ll see you later?
Christian nods as Kaitlyn takes her leave. He turns to Arthur not far from him.
CHRISTIAN
She knows…
ARTHUR
(Concerned)
What are we gonna do?
CHRISTIAN
She knows too much what else are we to do?
CUT TO:
EXT. AN OPEN STREET- LATER IN THE DAY
Kaitlyn is moving quickly but cautiously taking a few moments occasionally to look around.
Arthur is following her using building comers as cover.
We hear and see cars passing the two, Kaitlyn unaware of Arthur.
She walks to a more closed street but hears loud footsteps making her aware of Arthur’s presence.
This triggers a chase between the two leading down narrow alley ways until returning to the field she was first called to, to investigate the murder.
We see Christian now stood over two bodies: the original and the police officer that was guarding the scene.
Christian takes his gun out.
He toys with his gun as Arthur arrives behind Kaitlyn aiming the gun at her.
CHRISTIAN
It’s a shame, I actually started to like you, considered you as… something again.
KAITLYN
(Strong, hurtful)
People like you and I can’t even get along, you are a murderer for fuck sake. I uncover you, sorry to break it to ya but we were never gonna fix what we had. Both in this life and the next!
CHRISTIAN
Technically I’m not the murderer being that Arthur shot the poor bugger.
KAITLYN
You or Arthur, I couldn’t really give a shit. For me, the dead is still better company, at least they can’t stab you in the back.
CHRISTIAN
I really can’t make you change your mind can I? Well it’s your lo-
Christian is interrupted by Arthur firing his gun, killing Kaitlyn.
FADES TO BLACK
CUT TO:
INT. A HOUSE- EARLY MORNING
Kaitlyn is now awake and jumps from her slumber.
Kaitlyn is walking down the stairs getting ready to leave, leaving her house through the front door.
CUT TO:
EXT. ORIGINAL OPEN STREET.
A quiet street with little to no activity.
A few people walk by clearly talking with one another but show no interest in anything other than themselves.
KAITLYN walks past them at decent speed, looking around at her surroundings as she is on patrol.
She is wearing a lab coat as she makes her way to her work place.
She is drawn to a sudden crackling noise coming from her radio and draws it closer to her ear.
A manly voice begins to inform Kaitlyn about a case.
MATT
(Monotone in voice)
Murder on Black Street…
(Crackling on the radio)
Kaitlyn to the scene of the crime, we are sending some of our best men to meet you there.
(The radio cuts and silence falls)
We leave Kaitlyn to relive this moment continuously.
CREDITS BEGIN.
Visual styles and lighting.
Noirs use several different visual styles to convey different contexts within the film. The typical styles are:
-Blocking shot (through shutters or blinds)
-Low key lighting
-Shots through reflective surfaces such as glass.
-Varying angles
-Shadows
-Darkness
-Silhouette
Using these different styles the creator can add depth to a scene, mystery to a character and deadliness to a fatale. Film noir lighting is key due to the importance in contrast between light and dark in all film noir. Harsh lights are usually used to provide strong shadows to give the film a further depth that most colour films struggle to create. The lights used in film noir are usually the key lights, the fill light and the backlight to outline the character (or scenery) from the other elements in the shot to emphasise the importance of different features. The lighting is used to match the dark genre that film noirs usually follow which can aid in typical themes such as crime. The key light is the brightest and most important as it shows the dominance of the stage to highlight the most important features of the shot. The style used to light a film noir is called chiaroscuro as it uses low key lighting and emphasises harsh lighting and shadow to create a sense of depth and volumes in films.
Noirs can use blocking shots to create a shadow of blinds or shutters to add an air of mystery to a scene along with the already unique lighting style used in typical film noirs. They can also use reflective surfaces such as windows to show further depth or lead into an important flash back which an be done through the natural light. Lastly, lighting is also use to show shadows and silhouettes of characters and buildings to either convey mystery, violence or a grave ending to an important character.
Noirs also use varying angles when shooting different scene and this can be done by editing a change of shot to occur quickly during violence or slow in conversations. They will use high and low shots to generally display power or authority over others between different characters. Along with varying angles, film noirs will tilt their shots occasionally to almost disorientate the audience so they can feel differently about something or a character due to the slight change.
Themes and plots.
Femme fatale:
Femme fatales are roles played by female actresses which usually have a dark link with the plot and a seductive air. These characters intertwines themselves with the main male lead and tend to become his ‘love interest’ and pulls the plot forward. The fatale will use her seduction, beauty and charm to achieve their hidden purpose whether it be good or bad. Often upon meeting a femme fatale she will be in some kind of distress drawing men to her along with her beauty enticing them to investigate. Modern day femme fatales are presented with a physical power over men and can be often depicted as an enchantress, witch, vampire or demon with extraordinary powers to clearly show this control.
Typical plot lines
Femme fatales are roles played by female actresses which usually have a dark link with the plot and a seductive air. These characters intertwines themselves with the main male lead and tend to become his ‘love interest’ and pulls the plot forward. The fatale will use her seduction, beauty and charm to achieve their hidden purpose whether it be good or bad. Often upon meeting a femme fatale she will be in some kind of distress drawing men to her along with her beauty enticing them to investigate. Modern day femme fatales are presented with a physical power over men and can be often depicted as an enchantress, witch, vampire or demon with extraordinary powers to clearly show this control.
Typical plot lines
Crime plays the largest role in film noirs as it is the basis of the classic film noirs with relation to gun crimes in most cases. This is usually investigated to a certain extent by a male role or by a concerned party and are based on the idea of ‘heroes’ who are flawed and can be questioned by their sense of morality. There will usually be a femme fatale being the driving force of either the crime or the investigator which will show a significance to the plot resulting in - no doubt - murder. During the entirety of a classic film noir you will most likely be taken through multiple shoot outs and a tension building plot which is narrated by the main male role typically.
Settings
Noirs typically take place in large cities of urban areas when not under the protection of police stations, houses, shops and eating places. Some noirs have few settings but focus more on actual development of characters and progression of storyline than anything else, much like 'Double Indemnity' does. Other noirs provide us with more and more open spaces such as 'The Third Man' or multiple settings which flow but without prolonged use of the outside such as 'The Big Sleep'. All three films utilise settings in very individual ways to adapt to their plots and unravelling tension.
Iconography
Darkness, gloom and fog are typically associated with film noir which gives the film it sense of mystery being that most film noirs are linked with the mysteries of murders and crime. Costume aspects such as guns, trench coats, cigarettes and smart suits also play a large part in noir iconography. Along with these visual aspects there is the classic heavy jazz music to add depths to different scenes within the film.
Themes
Typical themes consist of: greed, love, betrayal, jealousy, lust, revenge, corruption, murder and justice. Not all will be used in a singular noir but most noirs use multiple themes in conjunction with each other to add depth into plot lines. Along with these themes you will usually find a narrative behind them to explain as the plot progresses which can be a mixture of voice over narrative, flash backs and forward or first person narratives.
Iconography
Darkness, gloom and fog are typically associated with film noir which gives the film it sense of mystery being that most film noirs are linked with the mysteries of murders and crime. Costume aspects such as guns, trench coats, cigarettes and smart suits also play a large part in noir iconography. Along with these visual aspects there is the classic heavy jazz music to add depths to different scenes within the film.
Themes
Typical themes consist of: greed, love, betrayal, jealousy, lust, revenge, corruption, murder and justice. Not all will be used in a singular noir but most noirs use multiple themes in conjunction with each other to add depth into plot lines. Along with these themes you will usually find a narrative behind them to explain as the plot progresses which can be a mixture of voice over narrative, flash backs and forward or first person narratives.
Thursday, 29 October 2015
The Origin and Development Of Film Noir
Film noir is a style used in a film commonly shown as fatalistic, pessimistic or cynical in mood. These films specifically focus crime and corruption in urban areas between early 1950’s to late 1960’s. Without a clear genre definition in noirs they are more commonly recognised from their visual styles which emphasise low key lighting and the importance of visual composition. The majority of film noirs are influenced by German expressionism (an artist movement between the 1910’s to 1920’s) this involved a multitude of mediums such as theater, photography, painting, sculptures and cinema. Being brought up in this movement noirs expressionism became enhanced to focus on the importance of plot lines.
The Origin
Film noir was founded in the Great Depression Era of American history and was built upon the foundations of filmmaking and the advancement of additional sound, control of lighting and improved photography. Due to the depression their budgets were low and the option to experimentation became few and far between because of this. With lack of tech and money the films made relied heavily upon the talents of the creator of the film. It was a great time for films in the 1930’s and with over 15,000 films coming out around this time offered competition in different styles. Film noir is based on a style known as German expressionism and was founded by escape artists from the Nazi threat in Europe.
These noir originals were all black and white but developed in the later years to neo-noir. these neo-nors used the same concept of the originals but with the aid of colours the outcome would be different to a certain degree so darker colours would be used to maintain the same feel of the classic noirs.
During the film noir period technicolour began more and more prominent in most films but with such depth needed in these films colour was rarely used in noirs to keep the dark story as picturesque as it was. However even with the rise in colour films the technology was still young and offered no help toward many film noirs.
Noirs used block booking which would entail independent theaters to buy parts of the film and would help films get more publicity. However in 1948 the Supreme Court of the United States put a quick end to block booking when they won the battle against Paramount Pictures and with this opportunity dead many filmmakers found work in a new medium- television and eventually wiping the noir era out of the water. Some films in the modern era follow a similar style but use colours on a dark scale to keep the depth of the film.
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