Film Noir and the Cinema of Paranoia by Wheeler Winston Dixon

By Wheeler Winston Dixon

Wheeler Winston Dixon engages readers in an outline of noir and fatalist movie from the mid-twentieth century to the current, finishing with a dialogue of tv, the web, and dominant advertisement cinema. starting with the Forties classics, movie Noir and the Cinema of Paranoia strikes to the "Red Scare" and different ominous expressions of the Fifties. The darkish cinema of the Sixties mirrored the tensions of a society dealing with a brand new and, to a few, menacing period of social expression.

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By Wheeler Winston Dixon

Wheeler Winston Dixon engages readers in an outline of noir and fatalist movie from the mid-twentieth century to the current, finishing with a dialogue of tv, the web, and dominant advertisement cinema. starting with the Forties classics, movie Noir and the Cinema of Paranoia strikes to the "Red Scare" and different ominous expressions of the Fifties. The darkish cinema of the Sixties mirrored the tensions of a society dealing with a brand new and, to a few, menacing period of social expression.

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As in The Strange Love of Martha Ivers and House of Strangers, the Proctor family in Guest in the House is no match for the forces that seek to destroy the domestic tranquility of their genteel, well-appointed home. Werner Janssen’s appropriately ominous music, coupled with Lee Garmes’s moody cinematography and Nicolai Remisoff’s baroque production design, combine to create the vision of the summer house by the sea as the ineluctable domain of madness; a home waiting to be torn asunder by Evelyn’s invading intellect.

The Blue Dahlia projects a world of utter hopelessness, treachery, deceit, and betrayal, in which, once again, one of the protagonists cannot recall his whereabouts at the time of the murder. The nominal romance between Johnny and nightclub singer Joyce Harwood (Veronica Lake) that brackets the film is merely a cynical re-teaming of two of Paramount’s biggest stars of the postwar era, fresh from director Frank Tuttle’s surprise box-office hit This Gun for Hire (1942). The true center of The Blue Dahlia is a world of terminal despair.

She was the kindest, most generous woman I’ve ever known,’ Janoth rejoins. Hagen is momentarily astonished. ’ he finally blurts out. ‘I don’t know, Steve, I just don’t know,’ Janoth wearily rejoins, thus neatly staging the central paradox of all characters who inhabit a noir universe. Janoth is who he is; the ruthless, overweight, unattractive head of a gigantic news magazine empire (modeled, to some degree, on Henry Luce of Time/Life Incorporated) who will stop at nothing to expand his holdings, and reacts violently when anyone or anything opposes him.

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