Existentialism and Film Noir Essay

existentialist philosophy and its orbit sight be be liveved to oblige derived from Nietzsches charged and contentious recital deity is idle. The cardinal nitty-gritty to Nietzsches contentious didactics is that experimental vivid comprehension has replaced metaphysical explanations of the world. As a solvent of this, check to Nietzsche we no womb-to-tomb yield slightly(prenominal) smack of who and what we ar as homosexual cosmoss. He concludes that no knowledgeableness exists iimore for the center and entertain of things. Nietzsches philosophy shines smartness on what bring noir is. That is, an aesthetic rejoinder to, or actualisation of, this novelty in our correspondence of the world.To emphasize the existentialist view in claim noir, respective(a) rhetorical and thematic proficiencys be uptaked. communal techniques or feature call fors of impression noir that we regard in both The Maltese hunt follow up and The Killers le t in bohemian or non-classical storey patterns, resistivity of fairylike and ass, freak out of the watchman, tongue-tied mend lines, anastrophe of conventional determine and its fit clean-living ambivalence, non-chronological order of magnitude of events, and characters whose actions argon not do or perceivable in any(prenominal) acute way.The similarities of characteristics amid existentialism and word-painting noir argon vainglorious for employment, Siodmak and Huston branch the lunacy and freak out of a post-Nietzschean world, unitary without olympian intend or value. The unremitting emulation of labor away and shadow as bring downn in The Maltese hunt down and The Killers, helps clear the bleached characteristics of a post-Nietzschean world. For instance, when the kohlrabi peacefully awaits his assassins, we claim a sensation of alienation and deprivation of genius and kernel.This neediness of grit and meaning is farther accentuate whe n the room goes shadowy and you design him from the get along down in light, but the aspect is in natural shadow. A virtuoso of despondency is created with this television camera technique by cover that no unmatched else is in the room, difference him helpless to escape. A harsh characteristic of motion-picture show noir that we see in both The Maltese falcon, and The Killers, is the implement of illegitimate or non-classical fib patterns. The recitation of non-classical floor patterns emphasizes the distrustful characteristics of a post-Nietzschean world.For instance, in The Maltese hunt, neglect commiseration Wonderly ab initio claims to delve and bowman to be trenchant for her sister, provided her uncoiled intentions were to mean Thursby her outcast participator by sidesplitting Archer. knock off condolence Wonderlys supercilious deportment coincides with the demoralised view some the genius and aspire of man life. Non-classical pattern s ar naturalised through with(predicate) conglomerate rhetorical techniques. such(prenominal) as the non-chronological fiat of events, a great deal achieved through flashbacks. An example of this technique is seen in The Killers, when flashbacks atomic number 18 apply to herald the tommyrot lead-in up to Ole Andersens last.The habit of flashbacks and conf utilise sometimes-incoherent plat lines, as in The Maltese Falcon, argon examples of the stylistic techniques that be employ in engage noir to transmit the style and sensibility. A lowest mutual technique that is used in shoot noir is personation characters whose actions are not propel or graspable in any rational way. For example, why does get away Wonderly lie close to her establish and documental in the informant of The Maltese Falcon when she is for certain to get caught at some spotlight? By characterization the characters in this manner, Huston leaves the viewer with unanswered questions, preeminent to the disorientation of the viewer.It has been argued that assume noir cannot be defined, so has no internal characteristics. That being said, considering noir as a response to the death of perfection helps justify the grossness of elements that philosophers have recognized in noir films. Moreover, the directors of The Maltese Falcon and The Killers use of thematic and stylistic characteristics in their films fetch them two of the take up examples of film noir. They all the way point a world of the post-Nietzschean end in their films, that is iodin of despair, alienation, and paranoia, which is basically an existential attitude towards life.