{"id":1559,"date":"2018-04-07T12:45:55","date_gmt":"2018-04-07T11:45:55","guid":{"rendered":"http:\/\/debraflynnphotography.co.uk\/EYV-blog\/?p=1559"},"modified":"2018-04-07T12:45:55","modified_gmt":"2018-04-07T11:45:55","slug":"film-noir","status":"publish","type":"post","link":"https:\/\/debraflynnphotography.co.uk\/EYV-blog\/course-work\/part-4-the-language-of-light\/film-noir\/","title":{"rendered":"Film Noir"},"content":{"rendered":"

Film Noir Research<\/h1>\n
researching Christopher Doyle’s lighting, I came across the ‘Film Noir’ genre which was the name given to a series of films made in the 40s and 50s.  Doyle’s cinematography seems to contain a lot of the elements of film noir, but in a more modern setting.<\/div>\n
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film noir<\/span><\/div>\n
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f\u026alm \u02c8nw\u0251\u02d0,French film nwa\u0280\/<\/span><\/span><\/div>\n
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noun<\/i><\/div>\n
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    a style or genre of cinematographic film marked by a mood of pessimism, fatalism, and menace. The term was originally applied (by a group of French critics) to American thriller or detective films made in the period 1944\u201354 and to the work of directors such as Orson Welles, Fritz Lang, and Billy Wilder.<\/div>\n<\/div>\n
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