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<p><b>New page</b></p><div>{{short description|Film genre; modern form of film noir}}<br />
'''Neo-noir''' is a revival of [[film noir]], a genre that had originally flourished during the post-World War II era in the [[Cinema of the United States|United States]]{{--}}roughly from 1940 to 1960. The French term, ''film noir'',<ref name="borde">{{cite book|last1=Borde|first1=Raymond|author-link1=:fr:Raymond Borde|last2=Chaumeton|first2=Etienne|title=A panorama of American ''film noir'' (1941-1953)|date=2002|publisher=City Lights Books|location=San Francisco|isbn=978-0872864122|url=https://archive.org/details/BordeAndChaumetonPanoramaOfAmericanFilmNoir19411953}}</ref> translates literally to English as "dark film", because they were quite dark both in lighting, but also indicating sinister stories often presented in a shadowy cinematographic style. Neo-noir has a similar style but with updated themes, content, style, and visual elements.<br />
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==Definition==<br />
The neologism neo-noir, using the [[Greek language|Greek]] prefix for the word ''new'', is defined by Mark Conard as "any film coming after the classic noir period that contains noir themes and noir sensibility".<ref>Mark Conard. ''The Philosophy of Neo-noir''. The Univ of Kentucky Press, 2007, p2.</ref> Another definition describes it as later noir that often synthesizes diverse genres while foregrounding the scaffolding of ''film noir''.<ref name=":0">{{Cite book|title=International Noir|last=Pettey|first=Homer B.|publisher=Edinburgh University Press|year=2014|isbn=9780748691104|location=Edinburgh|pages=62}}</ref><br />
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==History==<br />
{{Main|Film noir}}<br />
"[[Film noir]]" was coined by critic [[Nino Frank]] in 1946 and popularized by French critics [[:fr:Raymond Borde|Raymond Borde]] and Etienne Chaumeton in 1955.<ref name="borde"/> The term revived in general use beginning in the 1980s, with a revival of the style.<br />
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The classic ''film noir'' era is usually dated from the early 1940s to the late 1950s. The films were often adaptations of American crime novels, which were also described as "[[hardboiled]]". Some authors resisted these terms. For example, [[James M. Cain]], author of ''[[The Postman Always Rings Twice (novel)|The Postman Always Rings Twice]]'' (1934) and ''[[Double Indemnity (novel)|Double Indemnity]]'' (1944), is considered to be one of the defining authors of hard-boiled fiction. Both novels were adapted as crime films, the former more than once. Cain is quoted as saying, "I belong to no school, hard-boiled or otherwise, and I believe these so-called schools exist mainly in the imagination of critics, and have little correspondence in reality anywhere else."<ref>{{cite book |title=Hardboiled America – The Lurid Years of Paperbacks |last=O'Brien |first=Geoffrey |year=1981 |publisher=Van Nostrand Reinhold |location=New York; Cincinnati |isbn=0-442-23140-7 |pages=[https://archive.org/details/hardboiledameric00obri/page/71 71–72] |url=https://archive.org/details/hardboiledameric00obri/page/71 }}</ref><br />
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==Characteristics==<br />
Neo-noir film directors refer to 'classic noir' in the use of [[Dutch angles]], interplay of light and shadows, unbalanced [[Framing (visual arts)|framing]]; blurring of the lines between [[Good and evil|good and bad]] and [[Ethics|right and wrong]], and thematic [[Motif (narrative)|motifs]] including [[revenge]], [[paranoia]], and [[Alienation effect|alienation]].<ref>[https://nofilmschool.com/neo-noir-definition-and-examples What is Neo Noir? Definition and Essential Examples - No Film School]</ref><br />
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Typically American [[crime drama]]s or [[psychological thriller]]s, films noir had common themes and plot devices, and many distinctive visual elements. Characters were often conflicted [[antihero]]es, trapped in a difficult situation and making choices out of desperation or [[nihilism|nihilistic]] [[Morality|moral systems]]. Visual elements included [[low-key lighting]], striking use of [[Chiaroscuro|light and shadow]], and unusual camera placement. [[Sound effects]] helped create the noir mood of paranoia and nostalgia.<ref>{{Cite book|title=Neo-Noir|last1=Bould|first1=Mark|last2=Glitre|first2=Kathrina|last3=Tuck|first3=Greg|publisher=Wallflower Press|year=2009|isbn=9781906660178|location=London|pages=[https://archive.org/details/neonoir00mark/page/44 44]|url=https://archive.org/details/neonoir00mark/page/44}}</ref><br />
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Few major films in the classic ''film noir'' genre have been made since the early 1960s. These films usually incorporated both thematic and visual elements reminiscent of ''film noir''. Both classic and neo-noir films are often produced as [[independent films|independent features]].<br />
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After 1970, film critics took note of "neo-noir" films as a separate genre. Noir and post-noir terminology (such as "[[Hardboiled|hard-boiled]]", "neo-classic" and the like) are often rejected by both critics and practitioners.<br />
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Robert Arnett stated, "Neo-noir has become so amorphous as a genre/movement, any film featuring a detective or crime qualifies."<ref>{{cite journal |last1=Arnett |first1=Robert |date=Fall 2006 |title=Eighties Noir: The Dissenting Voice in Reagan's America |journal=[[Journal of Popular Film and Television]] |volume=34 |issue=3 |pages=123–129|doi=10.3200/JPFT.34.3.123-129 |s2cid=190713884 }}</ref> Screenwriter and director [[Larry Gross]] identifies [[Jean-Luc Godard]]'s ''[[Alphaville (film)|Alphaville]]'', alongside [[John Boorman]]’s ''[[Point Blank (1967 film)|Point Blank]]'' (1967) and [[Robert Altman]]’s ''[[The Long Goodbye (film)|The Long Goodbye]]'' (1973), based on [[Raymond Chandler]]'s 1953 novel, as neo-noir films. Gross believes that they deviate from classic noir in having more of a sociological than a psychological focus.<ref>{{Cite news|url=http://www.bfi.org.uk/news-opinion/news-bfi/features/fast-track-fandom-where-begin-neo-noir|title=Where to begin with neo-noir|work=British Film Institute|access-date=2017-08-17|language=en}}</ref> Neo noir features characters who commit violent crimes, but without the motivations and narrative patterns found in ''film noir''.<ref name=":0" /><br />
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Neo noir assumed global character and impact when filmmakers began drawing elements from films in the global market. For instance, [[Quentin Tarantino]]'s works have been influenced by [[Ringo Lam]]'s 1987 classic ''[[City on Fire (1987 film)|City on Fire]]''.<ref>{{Cite book|title=Film Genre Reader III|last=Grant|first=Barry Keith|publisher=University of Texas Press|year=2003|isbn=0292701845|location=Austin|pages=[https://archive.org/details/filmgenrereaderi00barr/page/525 525]|url=https://archive.org/details/filmgenrereaderi00barr/page/525}}</ref> This was particularly the case for the noir-inflected ''[[Reservoir Dogs]]'', which was instrumental in establishing Tarantino in October 1992.<ref>{{Cite book|title=Film Remakes|url=https://archive.org/details/filmremakes00vere_248|url-access=limited|last=Verevis|first=Constantine|publisher=Edinburgh University Press|year=2006|isbn=0748621865|location=Edinburgh|pages=[https://archive.org/details/filmremakes00vere_248/page/n182 173]}}</ref><br />
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==See also==<br />
* [[List of neo-noir films]]<br />
* [[Tech noir]]<br />
* [[Arthouse action film]]<br />
* [[New Hollywood]]<br />
* [[Pulp noir]]<br />
* [[Maximalist film]]<br />
* [[Minimalist film]]<br />
* [[Postmodernist film]]<br />
* [[Modernist film]]<br />
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==References==<br />
{{Reflist}}<br />
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==External links==<br />
* {{cite journal |last1=Arnett |first1=Robert |date= Fall 2006 |title=Eighties Noir: The Dissenting Voice in Reagan's America |journal= [[Journal of Popular Film and Television]] |volume=34 |issue=3 |pages=123–129 |doi=10.3200/JPFT.34.3.123-129 |s2cid=190713884 }}<br />
* {{cite book |title=The Philosophy of Neo-noir |last=Conard |first=Mark T. |year=2007 |publisher=The University Press of Kentucky |location=Lexington, Ky. |isbn=978-0-8131-2422-3 |url-access=registration |url=https://archive.org/details/philosophyofneon0000unse }} {{Google books|6J5uLqU8y58C|The Philosophy of Neo-noir}}.<br />
* {{cite book |title=Detours and Lost Highways: A Map of Neo-Noir |last=Hirsch |first=Foster |year=1999 |publisher=Proscenium Publishers |location=New York |isbn=0-87910-288-8 |url=https://archive.org/details/detourslosthighw00hirs }} {{Google books|wcFg1LQfihQC|Detours and Lost Highways: A Map of Neo-Noir}}.<br />
* {{cite book |title=Mean Streets and Raging Bulls: The Legacy of Film Noir in Contemporary American Cinema |url=https://archive.org/details/meanstreetsragin0000mart |url-access=registration |last=Martin |first=Richard |year= 1997 |publisher=Scarecrow Press |location=Lanham, Md. |isbn= 0-8108-3337-9}}<br />
* {{cite journal |last1= Snee |first1=Brian J. |date=July 2009 |title=Soft-boiled Cinema: Joel and Ethan Coens' Neo-classical Neo-noirs |journal=Literature/Film Quarterly |volume=37 |issue=3 |url=http://www.thefreelibrary.com/Soft-boiled+cinema%3a+Joel+and+Ethan+Coens'+neo-classical+neo-noirs.-a0204565670 }}<br />
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{{Crime fiction}}<br />
{{Film genres}}<br />
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{{DEFAULTSORT:Neo-Noir}}<br />
[[Category:Neo-noir| ]]<br />
[[Category:Film noir]]<br />
[[Category:Film genres]]<br />
[[Category:Television genres]]<br />
[[Category:1960s in film]]<br />
[[Category:1970s in film]]<br />
[[Category:1980s in film]]<br />
[[Category:1990s in film]]<br />
[[Category:2000s in film]]<br />
[[Category:2010s in film]]<br />
[[Category:2020s in film]]</div>Ajay Kumar