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Hank Quinlan 2015

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About Hank Quinlan 2015

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  1. Whenever the filmmakers cast a look on the hard-boiled novels and short stories (by great authors such as Raymond Chandler, Dashiell Hammett, James M. Cain, and so others), they also grasped the main aspect that detached them from the Sherlock Holmes-like stories. Getting sorted out a crime by applying a deductive reasoning wasn't anymore important. Now the new approach to solve the puzzles was by using the abductive reasoning. In other words, the guessing. That's why we started to see private eyes getting involved with the characters and their situations, making tough decisions and living on
  2. Probably Preminger opted for creating this opening scene in an opulent apartment and presenting a vain, decadent but charismatic character (Waldo Lydecker) in order to set a different direction of the plot and deviate the viewer's attention about the murderer. At first, it's quite hard to believe picturesque and lively characters are villains, but when the story unfolds the masks and veils start to fall down and eventually the real faces of the characters get uncovered. As Jim Thompson (one the greatest hard-boiled writers) once pointed out: There is only one plot: things are not as they seem.
  3. Brilliant lecture, Richard! On approaching to Film Noir I've recognized (at risk of being wrong) a departure from the films made in the 30's, which gives a distinctive range of stylistic and thematic aspects to films noir. Most likely owing to cultural, political and historical aspects that made this possible, as you cleverly pointed out on your lecture, we're able to identify a switch on lighting and camera movements. About the latter, film noir cinematography was nourished by the German Expressionist type of lighting. It conferred a new feeling: as it happened with the baroque painters (such
  4. The bird's eye view and the expressionist lighting of the opening scene, when the children are playing in a circle, singing a creepy song about a sort of a Bogeyman, gives us an uneasy feeling of dormant danger, that immediately sets the mood of the film. Looking at the kids from above shows them smaller than they are and more fragile and gives the idea that they are quite unprotected. No wonder why this scene has become an archetypal cinematic moment of horror movies. Right after, Lang designed a perfectly made sequence that keeps rising the tension. The playground scene is followed by the wo
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