Presentation Outline For The Research Paper

Anthony Lomeli

English 101

PRESENTATION OUTLINE FOR THE RESEARCH PAPER

Outline for the Presentation  (100 Points)

I.                     Introduce your film and provide the premise of the film in three sentences or fewer.

The Dark Knight is based on Batman/ Bruce Wayne in his continues war on crime, and in the film he is on a quest to destroy organized crime in the city of Gotham for good. Soon Batman is confronted with a new terror, a criminal mind named The Joker who “forces Batman in crossing the fine line between hero and vigilante.”   

II.            Characteristics and Conventions of the Film that Link it to Classic Film Noir

1.        Claustrophobic interiors, disorienting views, and off balance composition.

2.        Protagonist role and loving female character.

III.           Elements of the Film that Deviate from Classic Film Noir and Link it to Neo Noir

1.        Space and time in neo-noir cinema.

2.         Subjectivity in neo-noir cinema

Quotes from Outside Sources (These may be inserted anywhere in the outline)

Source One:

Context:  Provide a signal phrase that includes the title of the source and the author:	Quote from the Source: Be sure to include the page number	Significance: How does this quote relate to the topic of your essay?
According to Mark T. Conard, and Robert Porfiro, in their book, The Philosophy of film noir,	“Noir deals with criminal activity, from a variety of perspectives, in a general mood of dislocation and bleakness which earned the style its name” (10)	In The Dark Knight we see criminal activities from various perspectives, from variety of different criminals. Which sets the plots style in the movie?

Source Two:

Context: Provide a signal phrase that includes the title of the source and the author:	Quote from the Source: Be sure to include the page number	Significance: How does this quote relate to the topic of your essay?
According to Mark T. Cornard, in his book The Philosophy of neo-noir,	“What used to be the contemporary ‘space’ of Los Angeles city now becomes the ‘time’ of the distinct past…rather than looking for himself, for his own identity and how he may have lost it” (7).	In The Dark Knight Bruce Wayne/Batman lives two life, plays two distinct roles, and in the process finds himself looking at his past, and looking at his role in bring a stop to chaos and destruction imposed by The Joker. In other words what dose Batman stand for.

Annotated Bibliography

Weinman, Sarah. "Meta-murderers". latimes.com. Los Angeles Times, 31 Aug. 2008. Web. 7 May 2008.
          This article is about "The Book of Murder and The Killing Circle" consider a very lethal set: the writers' group". This article is about how important murder is to most of the "current crime fiction" novels, in many for the most part. Murder that turns "order into chaos", as we can admit to most neo-noir. That leads to investigation by a detective role, and all of this is common in most neo-noir "(original work published by Hard Case Crime)" films like "The Dark Knight". In many ways the article can illustrate this fact, as Sara Weinman reports, "like 21st century music, 21st century crime fiction is all about neo: neo-classical (Louise Penny), neo-noir (original work published by Hard Case Crime) and neo-romatic (the renewed popularity of historical mystery set during the first Romantic Age).

Boggs, Carl. "Postmodernism the Movie." New Political Science 23.3 (2001): 351-370. Academic Search
            Premier. EBSCO. Web. 28 Apr. 2011.
           This article is important because it breaks down in definition what Postmodernism is, and "in its various expressions over the past three decades...most visible in the United States" that is found in neo-noir. This article strongly emphasis the new trend and changes in culture, and "modes of tectnology, commoodification", and "consumerism".  These elements can be found in neo-noir films like "Fight Club", and can rise my understanding of neo-noir, from film noir. This article, "Postmodernism the Movie" breaks down even more the important of "Postmodern cinema...It often questions established social hierarchies and discourses while at the same time depicting a society in the midst of turmoil, chaos, fragmentation, and violence - a social order that gives rise to and sustains a popular mood of anxiety, cynicism, and powerlessness". We find many of this information in "The Dark Knight" that provides many "dimensions of" class and "power structures" throughout the enter film.

 Weinman, Jaime J. "Holy Identity Crisis, Batman!." Maclean's 121.28 (2008): 53-54. Academic Search 
          Premier. EBSCO. Web. 28 Apr. 2011.
          "Holy Identity Crisis, Batman!" is all about the history of the movies, that started from the original Batman in 1989, to the latest; "The Dark Knight". From comic to movie. The article also gives a brief understanding of team of British writers including "director Christopher Nolan and actor Christian Bale". This article in many ways explains the characters that seem " to fit in with Nolan's death-haunted comic-book noir world". And Christians Bales character in the Batman, which the article claims, "as a scowly vigilante whose vendetta against crime may cause as much trouble as it solves". The article also gives a brief description on every other Batman film made in the past before "The Dark Night" and how they have changed up to now.

Wong, Ewin J. "The dark knight on film: The demi-god returns." Community Review 12. (1991): 57.
           Academic Search Premier. EBSCO. Web. 28 Apr. 2011.
          The article "The Dark Knight On Film: The Demi-God Returns", is allot more in depth with explaining most elements and characteristics in association with noir, that updates the genre. Where according to author of the article Erwin J. Wong, "they have given his cinematic counterpart a costume that both in color scheme and physical nature contributes to the larger-than-life stature of a demigod." Where in "The Dark Knight Bruce Wayne...decides to pursue a crime-fighting career in Gotham City", and also important is the color in costume the film brings; "garbed in jet black". This article provides many associations to neo-noir, one important fact that the article empathise in print is the Batman's "moral ambiguity" for both justice and revenge. As he brings "the maniacal criminals" to justice through "the dark and somber streets of Gotham".

Boucher, Geoff. "Christopher Nolan's 'knight' vision". latimes.com. Los Angeles Times, July 6, 2008. Web.
            5May 2011.
            In many ways this last article is important in giving me a true understanding of "The Dark Knight" and most of all Christopher Nolan's who from what I understand so far has a thing with applying many elements and associations with noir in his movies. For example, Geoff Boucher can further explain, "The Dark Knight delves further into Nolan's familiar themes of moral uncertainty, madness and the cost of vendettas, which gave shape to 'Momento,' 'Insomia,' 'The Prestige' and his first trip to Gotham, the 2005 'Batman Begins." Where interesting enough 'Momento' falls as a film of neo-noir, as in comparison to "The Dark Knight". And in the new Batman, Bruce "is in a far darker place, then where he was then fighting the mob. In his own words, Boucher says no more than: "The Dark Knight finds a new political force in Gothem in Harvey Dent, a crusading prosecutor, and a deranged new criminal in the mysterious Joker." For all of us, including Nolan the movie is a crime film with elements and updates to the genre.

The Dark Knight

"In many ways", Mr. Toth, The Dark Knight "is an excellent choice for" my last major project in English 101. By Christopher Nolan, a Warner Bros Picture release. Due to many elements and associations to the works of classic noir; classical period. That has updated the genre in so many ways. According to The Dark Knight web page, the film stars "Christian Bale, who reprises the role of Batman/Bruce Wayne in his continuing war on crime." One of the big thrillers that updates the genre, which sets the following elements, and associations, "off balance composition, and the use of shadow," as it is set on the "location associated with the genre". Or, "the impact of the film "The Dark Knight" on the Psychiatric world". Giving as an updated seduction of neo-noir. Where, "the nemesis Joker, played by Heath Ledger, shows his clown-face and icy violence attracting attention." The attention that leaves Gotham in Darkness; a shadow casted by evil. Or maybe the violence that "lends itself to the portrayal of characters under emotional stress" that "creates a sense of wonder [i.e. admiration] at the extraordinary manifestation of familiar emotions raised to unfamiliar pitch" (43)." Outside of the elements, we find the "characteristics and conventions that define the genre", the two faced "District Attorney Ha rvey Dent", and a curopt police department, good girl femme. As "they watch in awe as he races the voice-activated Batmobile through the dark and Somber streets of Gotham, eluding the Joker and his men." The films main element is the "depressed" side of real life in Gotham city, and the bad ass, first kill seduction we find in the Joker. Or, Maybe its "the unstitched border" and "empty corridors,...not yet deciphered while watching The Dark Knight.

                                                                  Work Cited
Hamilton, Denise. “Los Angeles noir”. Ed. Denise Hamilton. New York: Akashic, 2007. Print.

Dreyer, Randolph. "Clap if you believe in the Batman The Dark Knight Christopher Nolan(Director)."Perpective in Psychiatric Care 45.1 (2009): 80-81. Academic Search Premier. EBSCO. Web. 23 Apr. 2011.

 The Dark Knight. "Warner Bros". Web. 23 Apr. 2011
Weinman, James J. "Holy Identity crisis, Batman." Maclean's 121.28 (2008): 53-54. Academic Search premier. EBSCO. Web. 23. Apr. 20011
Wong, Erwin J. "The Dark Knight on film: The demi-god returns." Community Review 12. (1991): 57.      Academic Search Premier. EBSCO. Web. 23 Apr. 2011.

Best and Most Difficult To Classify.

The best example of noir in "The Golden Cost" section would have to be "The Girl Who Kissed Barnaby Jones", for a number of reasons. First it was the most interesting story of the four. It keeps me reading. In this story we see a protagonist and femme fatale that fit the definition of noir. The femme fatale in this story, we can say is Cherie, a crazy lady who won't stop until she gets the job done right. Then we have Tate, who is the protagonist in this story. The one who knows most of Cherie's story and is seduced in to try to be an accomplish of a murder. "The Girl Who Kissed Barnaby Jones", fits noir best because from the beginning of the story we have a solid voice narrative, like in common noir. We get a good walk by of the whole story step by step, in orderly fashion that's understandable, in contrast to other stories. Tate gives us a good description of Cherie, the femme fatale to classify it as noir. In this we don't see Tate as an accomplish or in the killer's corner as in classic film noir, we see different; we see an approach to flee and not be illuminated or secured in. This quote showed how the story best fit the bill of noir, "I can feel the tension start to drain from my shoulders, and I put my weight back onto my feet just as I catch sight of a vaguely familiar, battered red corolla pulling into the lot and heading toward me, the face behind the wheel bearing down on mine, jaws clenched so tight they're bulging, and all I can think is how pretty she still looks"(298). Crazy lady!

The story that did not hit me as noir was "Kinship" because I did not find many elements of classic noir or neo-noir as described by given information. It was more of a story of someone just talking, telling a story. "Kinship" was a good story no questions asked, but this story had a plot that fit a description associated with something else; in a different categories. Or film.

Blog Entry #9

Option Two :
How do both of these writers use the landscape of Los Angeles in their stories? Both writers use the landscape of Los Angeles very well, and in depth, in The Kidnapper Bell, by Jim Pascoe, I did not truly see Los Angles, may be because I did not know the area, or the story did not provide a certain locations with more detail. Thus, toward he end of the story the writer did use a landscape that I felt was part of Los Angeles. The one quote that graved my attention was as follows, "He turns onto San Fernando Road...He puts his window down, even though the late-night air is cool. He wants to drive forever"(266). Yet, the writer does use the Los Angeles River most. Neal Pollack, writer of City of Commerce, gave me a perfect example of Los Angeles, because the narrations always illustrated its surroundings, by giving the name of different cities, the descriptions of a location and how you would feel if you happened to be there. It remind me of the city of angels. One perfect description that Pollack gave was in page 233, as he wrote, "Still, I'd drawn the perfect table mix of sour middle-aged Korean ladies, old dudes who bore the perfume and hairstyle of late-era William S. Burroughs, a couple of Persian frat boys from UCLA, and a pockmarked chole who leaned so far onto a cane when he stood  that he fell to a sixty-five-degree angle"(233). Here, Pollack showed the diverse culture that L.A. has, and from there we can imagine a part of the city. The other part I thought was interesting was how he used the freeways' to name major parts of Los Angeles: like Glassell Park, Downtown, and Gardena. The writers' in these two stories, depict L.A. due to the fact that we see lonely dark streets in one and a fast moving environment in the other, making the reader feel parts of Los Angeles we all can recognize. I can clearly feel like am in L.A. at a certain point in both stories. These two stories illustrate parts that can only be found in L.A. not anywhere else I've been-in.

Entry 8 Option Three:

"If you had to recommend one of these two stories to a friend, which on would you choose? Explain your reason for recommending one work over the other." If I had to recommend one of the to two stories, them being "The Method", by Janet Fitch, and Morocco Junction 90210, by Patt Morrison, I would recommend story one. Story one for the shared reason that I loved the narrative, the story flowed smoothly, and clear. This was the first time reading a story written by a woman, and having a female narrative, the story was long enough to make clear sense. The Method  is a trilling story in associations of noir, depicting a side of Los Angeles. I would recommend this story over the other because the story starts of in a normal fashion, and little by little you start to see elements and styles of noir. It really gives a three-sixty view of whats exactly going on when reading the story. It has a smilier plot like in Sunset Blvd. talking about once famous people, and so-on, it shows language not expose in other noir by a woman, that I have seen. This was something new? This story had lust, revenge, ambiguity by the narrator that keep me reading. This had to be my favorite quote, "At about 11:00 the phone rang...It was Richard. I imagined how shocked he must be, hearing my voice, that son of a b****"(117). It was interesting to hear this female talk this way and in this tone throughout the story. The female in this case was seduction, into trying to kill, by a man, in opposite to classic film noir one example would be Double Indemnity the male is the ambiguous protagonist. Here [ The Method ] it's the other way around. The male pays with his life. This story is dark and Methodist. A good read.       

Blog Entry seven. Option one

First, let me state that Dangerous Days and Midnight in Silicon Alley were very good stories in the collection Los Angeles Noir. They illustrates certain parts of Los Angeles, the first story was an excellent description associated with film noir because all of the characters talked in contexts to the Mexican-African-American street style of the 1940s, 1950, and so on. For those that don't know, they were talking in talk that ain't herd no more. This story had a detective figure, and corruption, greed and a femme fatale character. The story is clearly narrated by the starting role. The second, storie is a good story because it has murder and betrayal. The two stories show a perfect example of old Los Angeles in modern times, that's what makes them neo-noir. We see characters of old styles in a new world still going, if you know what i mean. Most of them loners, with a corrupt past. What makes this  neo-noir is that the famme fatales goes on punished, in the sense they are not murdered. We see seduction as major role associated with neo-noir. It has a verity of film noir, and results of neo-noir. The most important part i found was in both stories money was the reason in why every thing took place [murder]. And, the locations in which the were narrated were in place very familiar to me. Some place i did not know by name, yet the way in which they were described rang a bell. This stories fit to Heather Fireman's article, reason's of seduction, masculinity, and the resulting endings. These stories come ambiguous to the reader, untill the ending.           

Blog #6

What are the contrast of film noir and neo-noir? In other words what are the shared difference between old noir and neo-noir (new)? According to the this article film noir "externalized fears and anxieties of American society of the time, generating a dark feeling or mood to accompany its visual style". We know that the a contrast between the two is the different time line the two share. Film noir around the time of the Great Depression, neo-noir illustrates now; deference ones in black and white the other in visual color. Another in the language that is used. For example, "the 'languege' of noir is used to express anxieties belonging to modern times". Noir had a old accustom in culture to then, that of it's time, where neo-noir is more part of today, new America, and Hollywood. "In neo-noir, crime isn't always punished, and neither is the femme fatale". In neo-noir crime doesn't pay, the femme fatale is not murder like in old noir. And so on. What are the connections between noir and neo-noir? Some of the connections shared between the two are very common if your a fan of the noir genre? We find in noir the basics, femme fatales, detective eye, the ambiguous protagonist and so many other topics to cover. But what they have in common? What do they share? According to this very long article, some common connections share "is to express the anxieties of modern conditions".  We can call this Postmodernism. They depict the dark shadows of the grimmy streets as an example. Postmodernism is "too warped and incomprehensible, and our access to it is so flawed that we cannot make sense of it". Other connections between the two is shared in is the male role. Him being alone and uncertain, but with a 21st century twist to it. It has the same image, just in more style. Both have the same ideology with a different out come or ending. Article "The Dark Past Keeps Returning: Gender theme in Neo-Noir" give a good  example of the to genres, informs us of neo-noir, by using great film discussing masculinity and seduction.  

Blog Entry Five

Hi, after viewing many film reviews, and critical articles on film noir and Double Indemnity, relating to the movie. I stumbled on a perfect film review covering the making and changes in the script, from the book, Double Indemnity, by film noir author, James M. Cain. I found this article on "EBSCOhost.com." Title: Multiple Indemnity: Film Noir, James M. Cain, and Adaptation of a Tabliod Case. This small, but informative article, reviews Double Indemnity in the making. It covers the main plot of the movie, and the changes that were made to the movie script. In order for Hollywood to film. According, to the article, movie was released by Paramount Pictures. Double Indemnity, according to the article, comment about, "Walter Neff, having helped his lover Phyllis Dietrichson kill her husband for insurance money". The film review goes on to explain why, Paramount made so many changes to the shoot script, from the original novel. For example, the ending, which we have all seen in the novel that we all enjoyed. According to the films box office, it states, "Released with an ending that shows Neff dying from a gunshot inflicted by Phyllis, 'is a lighter entertainment than the original and a much easier product for Hollywood to market'." The insight I will comment on is that this review is informative in gaining extra or additional information on Double Indemnity. Because, after viewing the movie in Mr. Toth's English 101 class, and reading the novel; "We all know the novel and the movie aren't exactly the same". This article covers the main point, and the making in the film shooting. I feel the changes that were made to the script to fit the studio shootings were necessary. And the best thing to do. After reading the novel, i felt the ending wasn't what the reader expected, or to what we imagined it to be. "Really, we all know the whole 'moon' part, made no sense". Yet, the ending in the movie was more understandable to the rest of the story. It was clear. It made more sense. Made it more reasonable in the viewer's eyes.

Blog Entry Four

Option One: According to article "Primary Characteristics and...
These descriptions, according to option one, I believe are true. "The primary moods of classic film noir alienation, bleakness, disillusionment, pessimism, ambiguity, moral corruption, evil, guilt and paranoia." The description of Double Indemnity does relate towards those primary moods, Themes and Styles of classic film noir. First reason, the ending of the novel shows alienation, because it is full with allot of "emotional isolation" and from time to time, very often we visualize estrangement from the main character. Second, the last section shows bleakness, for the reason being, Walters life is depressing, and throughout the final chapters, we as readers get "exposed to" elements that are "cold and cutting"; most of all raw raw to the reader. Just like in any classic film noir element. Throughout the novel, we see allot of disillusionment, because there is much confusion, we don't really know whats going on until we finish reading. For example, when Walter is shoot by an unknown suspect, he writes, "I wasn't the only one that figured the world wasn't big enough for two people...I had come there to kill her, but she had beaten me to it"(94). We think Phyllis, yet in this part we are not certain. How does the ending section describe pessimism and ambiguity, first we view Walter, a murderer, a murderer we interpret in two or more expressions, because the story is telling from his point of view. For example, someone who is in love, and wants good for Lola, yet feels guilt for killing her father. Killing Mr. Nirdlinger without a seconds thought, and not thinking about it for HALF-A-SECOND, the mind of a KILLER. Then we see Phyllis, who we find to be pure evil, a feme fatales. This novel proves guilt, guilt on Walters's behalf, and paranoia, like when Keye's would talk to him about the situation not being suicide. Or when Lola claimed she was to call-out Phyllis in front of the court, everyone to watch. And that she would not be stopped. The ending of the novel has allot of moral corruption for the mire reason Walter is in between good and evil, trying to do good, through bad, only to find himself in a moral judgment of both, that is Walters character in the novel.

Topic for Blog Entry #3: Double Indemnity

2. Discuss the dynamics of the relationship between Walter and Phyllis in this section of the novel. How do Walter's attitudes and emotions about Phyllis change? How does this shift equate with the various description of film noir?
The dynamic relationship between Walter, and Phyllis is very serious and active in the second section of the novel. Their relationship is dynamic, because it shifts forward deeply based on how the story reads. Phyllis is, and has Walter where she wants, she has him seduced, at this point. And he's all ready knows he's fallen in that web. Walter admits that he murdered for here, and all because her: Walter blames Phyllis. In Walters' own words: Jame's M. Cain writes, "I had killed a man. I had killed a man to get a woman"(54). Their relationship is "intensive and vigor", Phyllis plays both parts of the females in film noir; a woman that seems to comfort, and manipulative. A loving woman who comforts Walter after and before murder is committed. A women who plays the femme fatale. For example, after Mr. Nirdlinger's homicide, Phyllis comforts Walter, Chain illustrates, "Do you still love me?...Do you still love me?...I'm dying to see you"(70). At this point she has Walter in the pom of her had; he knows this. 
Walter's attitude and emotion about Phyllis changes' throughout the section as he progresses in murder. He[Walter] is her confadont, at a point where he is into deep. Throughout the novel, he speaks in an ambiguous tone, out an ambivalent mindset. He see's Phyllis as a manipulative female, yet as a lover.
This section fits various description of film noir, because Phyllis and Walter show a sadistic side of human love. She shows a reliable, trustworthy and loving women. And a manipulative and desperate femme fatale. The novel illustrates a man who picks "the femme fatale who destructively goads him into committing murder or some other crime of passion."

Page 3-33 (Chapter 1-3) Response

Reading Response One: Double Indemnity(3-33).
            How dose Double Indemnity fit the definition of Film Noir? The novel Double Indemnity, dose describe, certain definitions of a Film Noir sitting. In one or two ways. The first part of the novel or the first section (pages 3-33) dose that, and describes certain quotes of different hand outs given to me defining exactly what is Film Noir. Explaining what Film Noir means.
           First quote i found true in one of the hand-outs given, tittled, Notes on Film Noir, that was true with my read on section one of Double Indemnity, James M. Cain. "film noir is [crime] from with in; from the point of view of the criminal." States the article. I found this quote true because in the first section of the novel, everything that is being talked about by the main characters is coming from a criminals point of view. From someone who is crooked, and doesn't make a hole lot of sense. Someone with ambivalent thoughts. For example, this section starts off like a crime scene investigation in the beginning of a movie, not given me a full understanding of whats going on?
          Second quote i found true, came from handout two, "Primary characteristic and Conventions of Film Noir : Themes and Styles." From the Website Filmsite. This quote was found in the third paragraph, it claims, "...Show the dark and inhumane side of human nature with cynicism and doomed love, and they emphasize the brutal, unhealthy, seamy shadowy, ark and sadistic sides of the human experience." First of all its too early in the novel to say this is truly right, yet from what i read in the first three chapters [section one], i fell the reading fits that description. For example in the novel Cain writes, "She looked at me, a little surprised, and her face was about six inches away. What i did do was put my arm around her, pull her face up against mine, and kiss her on the mouth, hard...then she closed her eyes, pulled me to  her, and kissed back"(13). According to the quote and very early in the first section of the novel, it shows a dark, and shady love. From two characters that don't know each other.

Neo-Nior 90s, Topic question #1.

1. Based on your reading of the article "Neo-Noir 90s" provide a description of the content and visual elements of film noir during its classic period. Noir during the classical period is very interesting, and according to the article, "film noir," is "to describe" those "crime-infested, shadow-draped, black-and-white movies." And, according to the authors' of the article, "Neo-Noir 90s, it was during a time of peace and prosperity that film noir got it start". Meaning that after harsh times did film nior emerge about its classic period.
First, let me explain what is film noir a more briefly, according to the dictionary, film nior means, a "suggestive of crime or violence." As the article describes, it was after the victory and overcoming the "Depression and war years" that storytellers had a new way of writing. What emerge was a "corrupt new world" where good and evil were seen crossing path's for the first time. 
Some of the elements seen in the classical period were something of the new. And according to the article, "The streets were rain-slicked, fogbound, menacing; the heroes deracinated and weary; the women ambiguous, sexy and treacherous." It was a new look for all viewers. "The nior  vision" was inspired and created by such "novelists as Raymond Chandler, Dashiall Hammett and Cain". The visual image according to the authors, "was largely imported from Europe, by Germans and Austrians" that came to America, flee ding Nazi power, and bringing with them a taste of expressionism.
According to them, "classic film noir came to an end in the mid'50s," by which this time the film noir style had evolved in its most twisted variation. The end of the line came around 1955. One of the last classic film noir movie was "The Big Sleep" by Humphrey Bogart.