Film
noir is a cinematic term used primarily to describe stylish Hollywood crime
dramas, particularly such that emphasise cynical attitudes and sexual
motivations.
Hollywood's
classical film noir period is generally regarded as extending from the early
1940s to the late 1950s. Film noir of this era is associated with a low-key
black-and-white visual style that has roots in German Expressionist
cinematography. Many of the prototypical stories and much of the attitude of
classic noir derive from the hardboiled school of crime fiction that emerged in
the United States during the Great Depression. "During its classic period, which lasted from 1941 to 1958, noir films were derided by critics of the time. Lloyd Shearer, for example, writing a supplement piece for the New York Times mocked the trends in 'crime films' that were 'homicidal', 'lusty' and filled with 'gut-and-gore crime'. In fact the top echelon of the major studios - Paramount and Warner Bros. - usually relegated their 'crime films' to B-units and released them on the bottom half of double bills" (Silver & Ursini, 2004). However, it is now one of the most influential genres of all time.
A
femme fatale is a stock character of a mysterious and seductive woman whose
charms ensnare her lovers, often leading them into compromising, dangerous, and
deadly situations. She is an archetype of literature and art.
Of
the three types of noir women, the femme fatale represents the most direct
attack on traditional womanhood and the nuclear family. She refuses to play the
role of devoted wife and loving mother that mainstream society prescribes for
women. She finds marriage to be confining, loveless, sexless, and dull, and she
uses all of her cunning and sexual attractiveness to gain her independence. She
remains fiercely independent even when faced with her own destruction. And in
spite of her inevitable death, she leaves behind the image of a strong,
exciting, and unrepentant woman who defies the control of men and rejects the
institution of the family. The classic femme fatale resorts to murder to free
herself from an unbearable relationship with a man who would try to possess and
control her. (Blaser, 1999)
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| Rita Hayworth - Gilda Marilyn Monroe - Niagara Joan Bennett - The Reckless Moment |
As my character Claudia is fascinated by horror and thriller films and drawn an obsession with femme fatale character's, this research allows me to further realise what style she would be applying to herself. Interestingly, the modern actresses playing these roles often more so look like your average woman with no glamour or give-away they are dangerous and fatal. Actresses like Rita Hayworth and Joan Bennett indicate the style I pictured for Claudia to take her influences from. Bold lips and dark eyes. Obviously, in an end-of-the-world scenario my character wouldn't have the facilities to curl her hair and apply makeups so as part of my job as the designer I will have to overcome how I can simulate this in a post-apocalyptic world. I will base my designs loosely on Rita Hayworth in the thriller Gilda.
References:
- Alain Silver & James Ursini. 2004. Film Noir. Italy: TASCHEN.
- Wikipedia. (2016). Film Noir. [6th April] Available: https://en.wikipedia.org/wiki/Film_noir#Overview
- John Blaser. (1999). No Place for a Woman: The Femme Fatale. [6th April] Available: http://www.lib.berkeley.edu/MRC/noir/np05ff.html
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