Film Noir Style Genealogy

Doctoral thesis OPEN
Dita Rietuma (2012)
  • Publisher: Latvijas Universitāte
  • Subject: Art science | Filoloģija | Cinema history and theory | Literatūrzinātne | Mākslas zinātne | Valodu un kultūras studijas, dzimtās valodas studijas un valodu programmas | Kino vēstures un teorija

Annotation for the Doctoral Work Film Noir Style Genealogy (The Genealogy of the Film Noir Style) The doctoral work topic Film Noir Style Genealogy encompasses traditionally approved world film theory views on the concept of film noir and its related cinematographic heritage, and an exploration of its evolution and distinctive style, including – the development of film noir in the USA, Europe, and also in Latvia, within the context of both socio-political progression and the paradigm of modernism and post-modernism in the XX - XXI centuries. The examination of film noir (French for “black film”) within cultural and cinematic history has, in modern times, become a scientific topicality, attested to by the growing amount of research dedicated to this phenomenon since the 1990s. The doctoral work traces the birth of the film noir style in the USA in the 1940s – 1950s, and explores the European and also American cultural echoes reflected in the collective of films deemed film noir. The narrative distinctions of film noir looked at in the doctoral work is considered an alternative to classic Hollywood style. The work also accentuates the sparsely researched Riga-born director Boris Ingster, whose Hollywood-made film, Stranger on the Third Floor (1940), is considered the earliest creative example of film noir style. Special attention is paid to the development of film noir style post the classic 1950s period, its transformation into European culture and the French New Wave tradition, as well as in other national cinematic contexts. The doctoral work will, for the first time, analyze film noir elements in Latvian film history (in the films of Rolands Klaniņš, Aloizs Brenčs and Arvīds Krievs), as well as the presence of film noir elements in Soviet (Russian) cinema, of which Latvian cinema was a component from the mid XX century to the 1990s.
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