Hollywood crime dramas

As Paul Schrader notes with fibre to a statement by Raymond Durgnat, characterisation noir is not a musical genre and is not delimit in terms of conventions of lay and conflict. Instead, it is defined by the subtler qualities of tone and mood and is to a fault defined by its time flow rate:

In general, film noir refers to those Hollywood films of the forties and early fifties that portrayed the world of dark, trip city streets, crime and corruption (Schrader 170).

Film noir was itself a organization of visual and thematic conventions which were not associated with any specific genre or story formula, but sooner with a typical cinematic style and a particular historical menstruation (Schatz 112).

Schatz's insistence on noting the relationship to a historical period is important because it indicates that film noir was a social, psychological, and aesthetic response to a certain sense of societal angst that developed first in the uncertainties of World War II, a period of world tensions manifested in the psychological ambiguities of film noir, and then continued in the reinvigorated uncertainties of the Cold War period, especially in the years instantaneously after World War II when American hostelry was straining to recover from the war term also toilsome to adapt to the new line-up of international friends and enemies. This also explains why the style became so pervasive, since it was speaking to the national header that existed at the time, and that psyche did not kick in only for one genr

The element is seen in some of the introductory black-and-white films as well, though the cool blonde depiction is most clearly developed in Hitchcock's color films in the mid-fifties. The way the cool blonde was used in conventional film noir shows how different Hitchcock is in his use of the figure. Barbara Stanwyck in billy Wilder's Double Indemnity is the more powerful woman who pulls the man's strings, eon Hitchcock's women argon more apt(predicate) to be damaged (as is Marnie) or over-reaching (as Grace Kelly is in Rear Window).

Hitchcock's films have features of the film noir while treating these features in a unique manner, but it is likely that the film noir influenced the development of some of these elements, notably stylistic ones related to motion-picture photography and art direction, but also character and plot in some degree.

Wood, Robin. Hitchcock's Films. New York: A.S. Barnes, 1965.

Cawelti, John G. "Chinatown and Generic Transformation in recent American Films." In Film Theory and Criticism, Gerald Mast and marshal Cohen (eds.), 503-516. New York: Oxford University Press, 1985.

for the proper environment for the darkness of the human head was the black-and-white image of the city in the 1940s and 1950s:

In both these films, Hitchcock utilizes some of the stylistic elements of the film noir, with a concentration on dark city streets, low-key lighting, a threat from nowhere, crime, and mental instability. In a number of films, Hitchcock also uses a variation on the femme fatale that is so common in the film noir, the woman who acts as a lure and who proves to be more dangerous than the male. in Hitchcock, though, these women are more likely to be playing at being tough rather than actually being touch. The women in Hitchcock's Golden Period are blonde, cool, reserved, capable, and yet often foolhardy in the way they take over their own power. They tend first to be images rather than substantive women--Kim Novak in Vertigo shows the importance of image to the males in
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