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Rasulka

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Everything posted by Rasulka

  1. Hi Everyone: RE: CERTIFICATE - To those who previously received an email but could not open the certificate, TRY AGAIN NOW ! I thought to try once more after time passing, and I now was able to open and access my Certificate. Congratulations to those who passed!!
  2. Hello Professor and All: NO CERTIFICATE downloadable from the email being sent to me and others who completed the Film Noir course. The CANVAS SITE - no longer carries the Film Noir Course or any connection to contact you Professor. How can I and other students get their certificate? I am sure I am one of many. Thank you!
  3. The Jazz of Miles Davis contributes an additional layer to the visual style of Elevator to the Gallows. It does this by contrasting the visual style of the opening scene. The Jazz focuses the direction of the ‘elevator’ down, and sets the mood for what is waiting: doom in the gallows. It does this as the dialogue and visuals are focused upwards – to the heights of passion and tall buildings. The music sets a fatalistic mood to the characters – one of resignation and even welcoming. In short, the Jazz is taking the peaks of passion and pulling it down to its ultimate resolution. The
  4. Salvation Army Set Up: No Salvation The Handyman Walter scratches the dirt of the window, revealing the horrific realism to come. He dumps out the dirty water, turning on the hot water to clean it. However, we are told he will not be able to clean it or anything, for when he discovers the dead woman he leaves the water running as he escapes – a symbolic “no amount of water” is going to clean this Noir mess. He makes his escape across a jarring, disorienting, endless morass of railroad tracks, he jumps into a moving train car – his image hidden in the smoke. He has entered the No
  5. Noir Conventions Burlesqued? The Noir smoke is dead for this detective. In the cab, Detective Brown comments that his partner’s “Cigar is Dead”. Detective Brown then adopts his ‘Crystal Ball’ persona and presumes the woman they are about to pick up is a ‘dish’: “I don’t have to wonder, I know.” Imagining her, he reaches into his coat, pulls out his gun and checks its readiness – already prepared for the ‘dame’ that I assume is the femme fatal. Detective Brown seems an anti-Noir protagonist. He views an unlit cigar with potential for heat and smoke as dead. And he rejects the po
  6. The Harp Music – Noir foreshadowing. The use of harp music both frames and foreshadows the key Noir action. As soon as the clock strikes 10 AM – Foster starts the second hand on his watch, and its runs for one minute. The harp music commences at 10:00 AM and stops at 10:01 AM. The use of the Harp brings fluidity, motion, action …. The foreshadowing that some action will take place within the confines of that one minute. The armored car guard exiting the Bank with gun in hand - open and pointed – also foreshadows that crime is afoot and will take place in the future: within this one
  7. Nothing like blood spatter in Black and White! Watching the film fight – I thought how easier it is to watch the violence of boxing if shot in black and white. Then, Noir delivered me a punch, in the form of Ernie’s face down at the mat – blood spatter dripping from his eye. One could feel the wetness of the blood and see every splat and spot and dot of blood …. WOW! I never realized the impact of blood shaded in Noir. Six Successive Screen Shots – a great set-up! Karlson shoots six close-ups in succession: TV Ernie Ernie and TV Pauline and Ernie Pauline Ernie and TV They ap
  8. Sam: Lately or Mostly? This phrase glued my attention. If I were to see nothing further of this clip, I am led to think that Sam is going to veer from ‘mostly’ (a gamble) to ‘lately’. Whatever the ‘lately’ is - I feel it is going to be THE story. Sam: You know how it is …You keep something in your mind since you’re a kid (referring to Martha). The mystery: Is Martha the ‘lately’ that Sam will soon be drawn into? Or is this the ‘lately’ that Sam has been planning? In short, it feels like whatever Sam’s ‘lately’ is, it will translate into Martha and Walter’s unanticipated
  9. This may be “the best unknown American film noir of the classic era”. The clip has deep Noir substance unlike what I have seen prior. The lighting in the scene is neither daylight nor dark, but dusk - that in-between, transitional period of light that harkens a new night … a new darkness …a new eve. The looming car stops at the 3.5 Mile marker, at 8:32 pm – just past the half hour. The symbolism seems to convey that our innocents, Jane and Alan, are approaching a midway point – a transitionary post. Jane instinctively seeks to 'turn around and go back', perhaps back to pre-war
  10. If Film Noir is Noir by virtue of the emotional response it is designed to elicit, than Hitchcock is indeed in a unique class. The mere utterance of the words - Hitchcock or Hitchcock film - elicits an immediate, emotional, gut wrenching, uneasy, and disturbed quality of feeling. It is a feeling we ALL share, instantly, like a communal tasting. Noteworthy, a person need not see numerous Hitchcock films for an imprint on their psyche. One need only experience ONE Hitchcock film - and a person can identify with that old, Hitchcock feeling!
  11. Will this walk ever end?!! Yes…in homicide. The music definitely captures a ‘disoriented person in a confused world that he can’t accept.’ The music begins by evoking a grand, epic duel. It then twists into a sense of ridiculous hopefulness, making Bigelow appear as if he’s skipping along. The music then turns again – an ‘end of duel’ tone that resolves upon entering the Homicide Office. The Noir motif is set. An existential, duel-with-life-itself crisis awaits Bigelow. Get ready for a leap of faith into the absurd. For when asked “who was murdered” Bigelow holds a long, lo
  12. Social Commentary short, direct, and to the point: “Pile out you Tramps! It’s the end of the line!” Women are things to pile up and throw out. Are all these women tramps? Tramp: a woman who has sex with many different men. These women are not tramps but a collective symbol of the femme fatale in all her glory. They are received as powerful, rebellious, women who are moving into male-dominated space: the prison. Not surprising, the noir story line here plays the femme fatale as victim. For a ‘tramp’ has to be put in her place.
  13. The substance of Noir is revealed: Lighting: The car pulling up with two headlights against utter blackness feels like the piercing eyes of an unknown wild animal revealing itself in the night. The lighting of the hitch-hiker’s thumb is quickly darkened out – making his hand look like a closed fist ready to exert power. Staging: The blowing wind could really be felt as I viewed the feet of an unknown. It conveyed coldness and desolation. The gun represents the hitch-hiker before we see the hitch-hiker’s face in the light. The gun represents him as he stands behind the trunk,
  14. Themes: One’s last breath, last acts of desperation, this Noir world’s last … something. The sense of finality derives from Cathy’s constant inability to catch her breath. Her breathing echoes sex and death. She is so desperate she throws her entire self in front of Detective Hammer’s car. And yet, this still is not sufficient to save Cathy. Hammer tells her: “Thumb isn’t good enough for you - you gotta use your whole body.” The meaning is in the metaphor: Cathy can’t save herself - she will sacrifice not a thumb but her life. Hammer won’t stop his car, his world for minor suffer
  15. What makes Harry Lime's (Orson Well's) "entrance" so effective? It is a great entrance and exit! Like a cat with 9 lives, Harry too appears to have 9 lives! After his formalistic - realistic burial, Harry's second life is signaled with that zither music. "Come out, come out wherever you are!" adds a playful sense of mystery to match the mood of the music. Harry is framed in the doorway in complete blackness, except for three formalistic lighting shots: shoes, face, and ear. Shoes (black & white) are lit in shadowy fashion making it hard to make them out. Harry's face
  16. What do the "entrances" reveal of each character? Not having seen this film, I am intrigued. I sense a non-traditional femme fatal. Feet. Garfield has feet itching to move. Yet he doesn't move upon meeting this femme fatal. The introduction of Lana - feet first - suggests her feet are not itching to move. Rather, she is a force nailed to the floor. Yet, she does move upon meeting Garfield. Lipstick. I love the sound design in this encounter. All quiet. Lipstick hits the ground (man wanted received a "smack"!), lipstick rolls across the cool tile (man wanted slowly stagg
  17. The Noir element that really caught my eye, was the use of an ordinary prop - in this case a lamp - to introduce the characters, contrast the characters, and add a sinister feeling to the room. Lorre enters and occupies the left side of the frame. Behind him - almost constantly - we see a lamp. This lamp base is almost a figure to mimic that of Lorre. It is somewhat slender with marked ornamental aspects, curves and limbs. The single bulb is round and sits aglow with no lampshade. The lamp is casting numerous orbs of light onto the wall. A spray of light that at first glance is all
  18. - How does the scene employ noir style in daylight shooting? The beginning of the scene puts us on the plane with Jeff in a fly over into Mexico City. The shots mimic a beautiful painting: brushstrokes contrasting the white buildings against black tar roads and driving circles. The camera is moving - veering left and right - as if the pilot can't steer or control the plane. Something perhaps amiss as we begin our descent into Noir! - What do we learn about Kathie and Jeff? The relationship will be hot and heavy. Classic Noir line: "I followed that 90 lbs. of excess baggage to
  19. How does this opening establish Bogart as Marlowe? What do we learn about him? Bogart pushes the doorbell in a forceful manner and holds it just a bit longer than needed. I am told at the onset that Marlowe knows who he is and commands attention. Marlowe is polished and polite, witty and sarcastic, confident if not arrogant, educated formally but also has street sense and is an independent thinker. He will challenge a system and break rules. Marlowe is a ladies man. He gives Carmen the once over upon meeting her. They exchange banter. She falls back. At the moment he catc
  20. The mood and tone of Border Incident is quickly set at the studio logo and opening credits. The music conveys a mood of Anger and an atmosphere of Danger. The documentary voice-over narration is unsettling to me from the get go. I feel like I literally have heard the same voice whilst watching actual war newsreels from the noir era. The "memory" of this voice, its sheer sound, is a tool of noir. It stirs agitation. It suggests a war of some sort is coming, and it is not in our imaginations. Or is it?
  21. Watching The Killers clip, it must be a definitive work of shifting between cinematic realism and formalism. I experienced a dissonance in what I was feeling versus what I was seeing or knowing. 1. The Diner - shifting between styles The Diner scene – Realism: Shot on-location, natural lighting, no music, stark, lonely feel. The Killer’s acting style & dialogue – a mix of realism and formalism. They move so matter of fact, so comfortable, relaxed and natural. They deliver their lines in similar fashion. Yet, the content of the dialogue froze me in a moment of formalis
  22. In Gilda, the music appears an element that definitely constitutes the heart of this film's action, and reveals the 'secrets of the soul' for Gilda and Johnny. Johnny literally enters the world of this sublime noir scene via the music. In his office, he is stopped dead in his tracks upon hearing the orchestra play - even before Gilda enters the stage. Gilda' performance? I liken it - with the use of this music - to a boxing match. She enters the ring with the spotlight only upon her. She throws down her shawl, and looks back at it, as if to say to Johnny that she is throwing in
  23. The opening scene of Laura indeed suggests a "charming character study of furnishings and faces." The camera slowly pans across Waldo's cluttered, almost claustrophobic apartment. The furnishings commence with a view of a Hindu goddess statue, curios in a glass cabinet, the clock (with its twin in Laura's apartment we are told). Det. McPherson wanders the room, then stops and ponders a wall of masks. He stops at the exact location, such that his head lines up with Laura's face in the painting. He walks over to the clock, intrigued. He ends up at the curio cabinet. So intrigued,
  24. The movement and framing of mother and daughter heightens the tension of the scene, akin to the tension of two lionesses in the jungle. The scene opens with a close-up of Veda lounging on her back, kissing her check - savoring her recent conquest. Her mother stands at a nearby chair, surveying the plain so to speak. Veda speaks while never looking at her mother - the attitude that her mother is of no consequence. As her mother moves behind the chair and closer to Veda, Veda turns around, leaning up against the chair and eying her mother - like a cat stealthily in the grass waiting
  25. Fritz Lang sets a noir 'mood & atmosphere' using the clock as a hypnotist uses a swinging pendulum to put one in a trance. Clearly, Neale is in such an hypnotic state, as the doctor enters the room saying "Oh... there you are!" as if Neale should have left his room already. As Neale sits in his chair, he continues staring at the clock and listening to its voice - its chimes. He then acts as if the clock is controlling him. He subtly leans forward, then slowly raises his hands off the chair in menacing fashion - as if he is fighting the urge to commit a "horror with his hands".
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