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Последние Фильмы, Которые Вы Смотрели


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Ну вот если рассмотреть, то на самом деле нет, герой - не одиночка, хуйня случается не из-за бабы, стилистических особенностей вообще нет

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Neo-noir is a modern or contemporary motion picture rendition of film noir. The term film noir (popularized in 1955 by two French critics, Raymond Borde and Étienne Chaumeton)[1] was applied to crime movies of the 1940s and 1950s, most produced in the United States, which have an 1920s/1930s Art Deco visual environment. It meant dark movie, indicating a sense of something sinister and shadowy, but also expressing a style of cinematography. The film noir genre includes stylish Hollywood crime dramas, often with a twisted dark wit. Neo-noir has a similar style but with updated themes, content, style, visual elements or media.

Neo-noir, as the term suggests, is contemporary noir. The film directors knowingly refer to 'classic noir' in the use of tilted camera angles, interplay of light and shadows, unbalanced framing; blurring of the lines between good and bad and right and wrong, and a motif of revenge, paranoia, and alienation, among other sensibilities.

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РЕЗЮМИРУЕМ. ЧЕРТЫ НЕО-НУАРА.

Обреченность героя.

Широта проблематики. Может быть затронута коррупция, политика, проституция, сексуальные девиации, и т.д.

Игра с признаками классического нуара.

Яркая визуальная составляющая.

Возможность активного симбиоза с другими жанрами

Ну вот и все епта,и без всяких там дебильных Вьетнамом,при чем там вообще Вьетнам блять.Я же говорю епта,То что в 70е начали снимать фильмы в жанре нуар с элементами проблемы войны во Вьетнаме и назвали это неонуар не значит что теперь мотивы Вьетнама являются обязательной чертой неонуара ,такой бред еще придумать надо 

Изменено пользователем NBN93
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Typically American crime dramas or psychological thrillers, films noir[a] had a number of common themes and plot devices, and many distinctive visual elements. Characters were often conflicted antiheroes, trapped in a difficult situation and making choices out of desperation or nihilistic moral systems. Visual elements included low-key lighting, striking use of light and shadow, and unusual camera placement.

Although there have been few new major films in the classic film noir genre since the early 1960s, it has had significant impact on other genres.[citation needed] These films usually incorporate both thematic and visual elements reminiscent of film noir. Both classic and neo-noir films are often produced as independent features.

It was not until after 1970 that film critics took note of "neo-noir" films as a separate genre. Noir and post-noir terminology (such as "hard-boiled", "neo-classic" and the like) are often denied by both critics and practitioners alike.

Robert Arnett stated that "Neo-noir has become so amorphous as a genre/movement, any film featuring a detective or crime qualifies."[4] Screenwriter and director Larry Gross, identifies Alphaville, alongside John Boorman’s Point Blank (1967) and Robert Altman’s The Long Goodbye (1973), based on Raymond Chandler's 1953 novel, as neo-noir films. Gross believes that they deviate from the classic noir films in having more of a sociological than a psychological focus.[5]

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