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About ColeCorri

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  • Birthday September 13

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  1. From the moment Criss Cross begins we are pulled into the world of noir. In the first aerial shot of the city, we see the city at a slight angle, telling us that something is wrong. Eventually, we zoom into a dark corner of the city, almost literally entering the shadows. Our lovers were hiding in the shadows, but are suddenly brightly illuminated by the headlights of a car. They break apart, and the dialogue soon informs us of why: they are secret lovers, hiding from Anna’s husband. In traditional noir style, we are dropped into the story with the plot already in motion. There is clearl
  2. As many others have pointed out, the music lays a key role in this scene. For me, it actually makes the violence all the more jarring to hear this classical music playing during such a brutal beating. Often classical music is used to indicate a cultured, intellectual individual, but that is obviously not the case here. The beating actually ebbs and flows to the music, almost as if it is some kind of strange dance. Just a few slaps by the captain are shown, but it’s enough to plant the image into the viewer’s head. As he goes around the room the dread builds as he closes the shades and
  3. This scene reminded me of The Set-Up as well. Beatings are always far worse when they are left to your imagination. Great point about the sadistic pleasure on Burr's face as well. He stood and watched with almost a black face, but there did seem to be a hint of pleasure there as well.
  4. The cinematography in this clip carries a great deal of meaning in it. The entire scene takes place in a very dark, claustrophobic space. It’s clear who has the power in this scene without a word being spoken. Even though there is a large doorway behind the crooks, they are always between Steve and the door. They are also always filmed from below, making them large and imposing, while Steve is always shot from above, making him seem smaller and more helpless. He also spends most of the scene in a physically lower position than the others, emphasizing how much power they have over him.
  5. The opening moments of The Asphalt Jungle set up the conflict of a single man versus the police. The location appears to be in the seedy side of town, since the buildings are rather shabby and non-descript. The streets are deserted except for a single man and a police car. The music and police radio suggest that the policemen in the car are looking for someone. Finally, we see a lone figure walking the streets. As we watch this him travel the streets, the buildings around him dwarf him. He seems to be nothing more than a tiny speck. All this makes him seem rather insignificant and power
  6. This scene from Kansas City Confidential does place a great deal of emphasis on time. There are many shots of the face of a clock or the face of a watch. There is even a clock above the door to the bank. There are people (the delivery man, the armed guards) who are clearly running on a schedule. There is also a crowd of people gathering at the door of the bank, reminding the audience difference just a minute can make. They must wait until the door is opened at exactly 10:00. The purpose of this is made clear when the viewer is shown a schedule of the coming and goings around the bank j
  7. There is a definite change in energy between the opening scene of the fight and the part we see on television. The first part of the scene puts the viewer in the middle of the action. At times the viewer feels like he or she is in the ring with the fighters, and other times, like he or she has a front row seat to the fight. The camera work is dynamic and the cheering crowd almost drowns out the announcer. Once we cut to the fight on the television, everything becomes very static; the camera doesn’t move as much. Gone are the close-ups as well; we view the fighters in a long shot. The act
  8. In our “Summer of Darkness” we’ve come across several films noir that are set in non-urban areas. Some, like On Dangerous Ground, send our lead character away from the “dangerous ground” of the city to find redemption. Others, however, focus on the idea of danger invading a small town, like The Stranger or The Killers. The Strange Love of Martha Ivers appears to fall into the latter category, as it is the arrival of a Sam that is clearly going to bring out the darker sides the characters are hiding beneath a façade of respectability. The scene makes it clear that Walter and Sam have a pr
  9. Too Late for Tears is a bit unusual from the other films noir we’ve watched in that it features a married couple. Although the scene opens with one of the noir staples, that of the lone man in the shadows, we soon change our focus to a married couple. They are not criminals, just a regular married couple having a disagreement. Soon, however, we are going to see the birth of a femme fatale, right before our eyes. It’s clear from the discussion in the car that Jane would like to improve their social status. Her husband is completely unaware that they are lacking in anything, but she fee
  10. I have to admit that to me, the films of Alfred Hitchcock are almost a genre in and of themselves. While I do think that some can be considered noirs, he had such a distinctive style, both visually and thematically, that his films are just identifiably his. The opening of Strangers on a Train has what could be a very noir opening. As others have stated, there is a focus on the feet and legs of our two main characters, much like the opening of Kiss Me Deadly and The Hitch-Hiker. It could also be seen as similar to the opening of D.O.A., where we follow a man who is nothing more than an
  11. All four of the opening scenes that we saw this week thrust the viewer into the middle of the action. While Kiss Me Deadly is probably the most disorienting, we begin each with someone on a journey, with no idea of his or her destination. Each creates a sense of danger or dread right from the start, as well. In D.O.A. in particular, all through the credits we follow an outline of a man who is headed towards a very specific destination. The viewer is left to wonder where this man is going and what he will do when he gets there. The music contributes to a sense of anxiety and amplifies
  12. I really enjoyed The Big Clock, but, like you, I didn't fell like it was really noir. To steal Foster Hirsch's term, I felt that it was more noir-stained than actual noir. It had elements of it, but it was a bit too light-hearted for me to consider it true noir. You are right in saying that George Stroud seemed to be having too much fun; he wasn't your typical tormented noir hero. The film was definitely a comment on the corruption of big business, which seems to fit very well into the world of noir, but tonally, it just didn't seem in line with other films noir. On a random note, did
  13. Having just watched the opening scene from Kiss Me Deadly immediately before watching this scene from The Hitch-Hiker, I was struck by how different the two scenes are, despite the similarities between them. On the surface, they have many things in common. Both scenes involve picking up a hitchhiker from a darkened street, both of who are trying to make an escape and harboring a dark secret. Both scenes also set a menacing atmosphere for the film to follow, but it is here that I feel they begin to diverge in an important way. Kiss Me Deadly’s opening scene is all about confusion and not
  14. The opening scene of Kiss Me Deadly sets up many of the themes common to film noir. The opening is disorienting; the first thing the viewer sees is a pair of legs running down a dark street. To make things even more intriguing, we notice that this woman is barefoot. The film plunges the viewer into the middle of the action, placing them in a world that is confusing and difficult to understand. The woman appears to be frightened and running away from something, but we don’t know what. The audience begins to dread whatever is lurking out there in the darkness as well, even though we don’t k
  15. The Third Man is one of my favorite films, and this scene is a prime example of why. The film itself, like this scene, is an interesting mix of realism and formalism. It begins like the viewer is about to watch a documentary, before transitioning into the narrative of the film itself. Much of the film is shot on location, capturing the look and feel of post-World War II Vienna, yet Reed chose to film in a very formalistic way, with much of the story being told through directorial choices such as camera angles and lighting. Reed even had to have the streets sprayed with water to capture the
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