Sources, signification and genre stability in American Film Noir

O conceito film noir é manifestamente complexo de ser definido. Atendendo a que não existe um estudo verdadeiramente completo sobre a estilística do film noir, esta tese, inserida no âmbito dos Estudos Cinematográficos, pretende ser uma tentativa de exploração do conceito film noir e do género cinematográfico sob vários aspectos. Trata-se, no fundo, de uma forma de restabelecer este conceito descritivo americano, desde o início dos anos quarenta até finais dos cinquenta, através de um processo de análise iconográfica. Este projecto focaliza-se na seguinte questão de investigação: pode o film noir americano ser considerado um género cinematográfico enquanto tal? Numa primeira fase, analisam-se os contextos cinematográfico e social preexistentes no cinema noir de modo a compreender este fenómeno cinematográfico, enquanto uma extensão do movimento hard-boiled, uma cosmovisão subversiva que descaradamente se opõe aos mitos americanos da auto-promoção americana, que marcaram muitos filmes de Hollywood durante a época da Depressão. Depois, descrevem-se os movimentos culturais específicos, bem como os acontecimentos sociopolíticos da época, a psicanálise, o estruturalismo e a teoria de autor, que ajudaram a contextualizar os padrões do film noir e a forma como o conceito acabou por gradualmente penetrar na cultura americana. As películas a analisar concentrar-se-ão sobre símbolos visuais específicos e elementos cinematográficos (tais como os das técnicas de iluminação e fotografia), adoptando uma perspectiva semiótica. Através dos conceitos saussuriano de “signo” e de “ícone” perceiano, procuro demonstrar de que forma os símbolos em filmes noir constituem significados que são enfaticamente indexicais, isto é, de que maneira eles são transversais, passando de um símbolo para outro (ou evento), direccionando e coagindo a atenção do espectador. A tese conclui então que o filme noir não pode ser considerado e entendido como um género fílmico e que o seu estilo visual (o aspecto dominante do cinema noir) tem como propósito acentuar o desencanto sentido no rescaldo da guerra, representar os meandros da vida urbana americana e, principalmente, enfatizar a incerteza, a ansiedade e o lado obscuro da existência humana.

The cry of the owl: investigating decision-making in a contemporary feature film

This article extends the traditions of style-based criticism through an encounter with the insights that can be gained from engaging with filmmakers at work. By bringing into relationship two things normally thought of as separate: production history and disinterested critical analysis, the discussion aims to extend the subjects which criticism can appreciate as well as providing some insights on the creative process. Drawing on close analysis, on observations made during fieldwork and on access to earlier cuts of the film, this article looks at a range of interrelated decision-making anchored by the reading of a particular sequence. The article examines changes the film underwent in the different stages of production, and some of the inventions deployed to ensure key themes and ideas remained in play, as other elements changed. It draws conclusions which reveal perspectives on the filmmaking process, on collaboration, and on the creative response to material realities. The article reveals elements of the complexity of the process of the construction of image and soundtrack, and extends the range of filmmakers’ choices which are part of a critical dialogue. Has a relationship to ‘Sleeping with half open eyes: dreams and realities in The Cry of the Owl’, Movie: A Journal of Film Criticism, 1, (2010) which provides a broader interpretative context for the enquiry.

Introduction : Australian cinema

Introduction to the Australian section of the first Intellect Directory of World Cinema: Australia and New Zealand. Discusses the history of Australian cinema in terms of genre and genre criticism.

Thriller

Shifts in genre definitions and classifications over time are very much a part of a living art form such as cinema. Films that today we might identify as bearing some of the hallmarks of the thriller, but which were not understood as such at the time of release, have been made in Australia since the earliest days of narrative cinema. The Story of the Kelly Gang (Charles Tait, 1906) contains some of the thriller’s stock elements: crime, conspiracy, suspense, a chase, heroes and villains. The fact that these elements are not exclusive to the thriller underscores the point that genres change, evolve, and often overlap. While contemporary reportage attests that The Story of the Kelly Gang thrilled audiences, it was not named as a ‘thriller’ at the time. Even so, a genealogy of the thriller can be traced through Australian film history, despite quiescent periods.

Deathcheaters

Synopsis and review of the Australian feature film Deathcheaters, directed by Brian Trenchard-Smith.

Tomorrow, When the War Began

Synopsis and review of the Australian feature film Tomorrow, When the War Began directed by Stuart Beattie.

Walk into Paradise

Synopsis and review of Australian feature film Walk into Paradise (aka Walk into Hell) directed by Lee Robinson and starring Chips Rafferty.

Red Hill

Synopsis and review of the Australian feature film Red Hill, directed by Patrick Hughes and starring Ryan Kwanten.

The Craic

Synopsis and review of the Australian feature film The Craic directed by Ted Emery, and starring Jimeoin.

Bad Eggs

Synopsis and review of the Australian feature film Bad Eggs, directed by Tony Martin.

Balibo

Synopsis and review of the Australian feature film Balibo, directed by Robert Connolly.

Ground Zero

Synopsis and review of the Australian feature film Ground Zero directed by Michael Pattinson and Bruce Myles.