According to Dale and Ewing, (1988) the meaning of the movies or cinema are highlighted or determined by the style and content. Film noir clearly defines the major elements that support the argument of style and content of the cinema. The movie meaning lies between the style and the contents of that is played to the audience.
The critics of film noir took the initiative of defining the general set up of a movie by identifying the specifics movies that support the argument. The first attempt focused on a preview of the “style-is- content literature” to which the movie has been produced and the second majored on a proposal of the suitable interpretive techniques to be applied. The two elements interrelate hence not all movies fits the definition of film noir since a full reflection of all the aspects has to be indicated.
The film noir stand for the “black films” and are totally distinct from the Hollywood films because of their dark style especially in terms of presentation. In other terms, there is a combination of lighting effects of gothic chiaroscuro creating ambiguity in the interpretation of the main meaning or theme of the film. According to Cornell and Cain, different styles can be used. For instance, in the novel there is use of the faux naïf approach whereby the writer got an opportunity to make the ordinary individual to embroil in instance of crime as a fault of some characters.
A variety of movies have been used to support the argument of the film noir. According to Raymond Durgnat, (1970) it is preceded by a la Cheyenne that is a French version though some the critics have classified it as a more nihilistic. This shows how style and content are significant in the movie production.
Works Cited
Ewing, Dale, E, Jr. "Journal of Popular Film & Television; Summer ProQuest Central." Film Noir: Style and Content 16, .2 (1988): 60-69. Print.
