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.
Wednesday, February 23, 2011
Saturday, February 19, 2011
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."
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."
Wednesday, February 16, 2011
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.
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.
Sunday, February 13, 2011
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.
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.
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