Film noir is a style of filmmaking.
Film noir is a style of filmmaking characterized by cynical heroes, stark lighting effects, frequent flashbacks, intricate plots, and an underlying existentialist philosophy. The genre was prevalent, mostly in American crime dramas of the postwar period.
Cinematography
one of the most recognizable features of film noir cinematography is its use of low-key lighting which creates strong contrasts between light and shadow this style creates a moody atmospheric effect.
Chiaroscuro lighting - the interplay of light and shadows creates stark contrasts that can visually reflect the character's conflicting motivations and identities.
Venetian blinds - A common visual motif in noir films, the shadows cast by blinds create diagonal lines across the frame, symbolizing confinement or entrapment.
Character shadows - The use of deep shadows across faces or bodies can indicate a character’s internal conflict, guilt, or duplicity
Exaggerated silhouettes - Filmmakers often emphasize certain parts of the character's body or face, creating a sense of mystery or predestination.
Dutch angles—These off-kilter shots signal that something is wrong or that the character is morally compromised.
Streetlight contrast: Film noir frequently depicts city streets lit by isolated streetlights, which cast harsh shadows and create stark contrasts between light and darkness.
Reflective surfaces - Wet streets or windows often reflect the characters, adding a layer of complexity to the frame and suggesting duality or the characters' hidden motives.
Intimate close-ups reveal a character's emotional state, particularly their internal struggle or despair.
Tight framing - Characters may appear boxed in or trapped, further reflecting the themes of entrapment in the genre.
Tracking shots - Long, uninterrupted tracking shots often build tension, as the camera follows the character through a threatening environment.
- James Wong Howe: His cinematography in films like The Big Night (1951) and Seconds (1966) brilliantly used lighting and framing to convey tension and paranoia.
- Nicholas Musuraca: Known for his work on Out of the Past (1947), his cinematography is noted for its moody compositions and effective use of shadows.
mise-en-scène
Lighting - Lighting is one of the most important components of noir. Chiaroscuro (the contrast between light and dark) is central to the genre, with heavy shadows and stark lighting creating a sense of mystery and tension.
Set Design and Locations—The city becomes an important character in noir films, often depicted as a labyrinth.
Costumes and Props -the femme fatale:
- Props: Cigarettes, whiskey glasses, revolvers, and other period-specific items often populate the frame, adding to the sense of nostalgia, tension, and danger.
- The female characters are often dressed in glamorous, seductive clothing—such as elegant gowns or tight-fitting dresses—contrasting with their dangerous, duplicitous nature.
- The male protagonists often wear suits, fedoras, and overcoats, signifying their work in law enforcement or private investigation.
Voiceover Narration - One of the most distinctive sound elements in film noir is the voiceover narration often delivered by the protagonist, typically a detective or antihero.
Music - Film noir music is crucial in establishing mood and tension.
Sound effects - In film noir, sound effects are not just used for realism but also to enhance the atmosphere.
Editing in film noir plays a crucial role in shaping the genre’s atmosphere and psychological tension. Like the visual style and sound design, the editing techniques in noir films work to emphasize the sense of mystery, disorientation, and moral ambiguity that defines the genre.
- Non-linear Narrative and Flashbacks#
- Crosscutting / Parallel Editing
- Quick Cuts and Juxtaposition
- Dissolves and Transitions
- Jump Cuts and Disorienting Edits
- Slow-Paced Editing and the Build-up of Tension
- The Use of Spatial Composition
- The Antihero Protagonist
- The Femme Fatale
- Crime and Corruption
- Fatalism and the Inevitability of Fate
- Psychological Complexity and Internal Conflict
- Moral Ambiguity and the Lack of Clear Resolution
A renowned detective, Elena Park, is struggling to cope with the traumatic death of her partner in a botched case. After taking time off, she is reluctantly pulled back into action when she is assigned to investigate the disappearance of a brilliant mathematician, Thomas Keller, who vanished without a trace from a locked, high-tech apartment. The only clue is a cryptic, unsolvable mathematical equation left on his desk.
As Elena digs deeper into Thomas's life, she uncovers a series of unusual circumstances: He had been working on a project involving advanced theories of time manipulation, and strange, seemingly unexplainable events begin to happen around Elena. Her perception of time starts to distort, with moments repeating, people vanishing, and things changing in the environment around her. She begins to question whether she's being stalked by someone with access to technology beyond anything she’s ever encountered, or whether her mind is playing tricks on her due to stress and guilt.
The further Elena delves into the investigation, the more dangerous it becomes. She receives threatening messages that seem to know everything about her, and cryptic phone calls from Thomas, as though he's still alive and trying to lead her to the truth. But with every clue she uncovers, Elena becomes less certain about who she can trust—her colleagues, the suspects, or even her own mind.
The climax of the film reveals that the "disappearance" may not be a crime at all, but an experiment—one that manipulates time, and Elena’s involvement was not as accidental as she thought. The final twist is a psychological gut punch, where Elena must confront the possibility that her own actions may have inadvertently caused the events to unfold in the first place, and that time itself may be far more unstable than she realized.
- Expectation: The audience will expect the movie to build toward a major twist, especially given the psychological and mysterious nature of the plot. They’ll anticipate misdirection, red herrings, and hidden motives.
Camera
The way shots are framed can shape how the audience anticipates a scene, especially when there’s a threat that isn’t immediately visible.
In The Village (M. Night Shyamalan, 2004), Shyamalan masterfully uses framing to build suspense. When Ivy Walker (Bryce Dallas Howard) is in danger from one of the mysterious creatures in the woods, she’s standing on her front porch with her hand outstretched. Shyamalan creates tension by leaving space on the right side of the frame, making us expect the threat to come from that direction. However, the creature suddenly appears from the darkness in the center of the frame, catching both Ivy and the audience off guard.
Film industry jobs
Actor; An actor is a person who portrays characters in plays, movies, television shows, or other forms of entertainment. Actors often play different roles or personas depending on the production.
Responsibilities
- job seek and network
- liaise with an agent
- prepare for and attend auditions
- learn lines and rehearse
- perform for a live audience
- perform in a studio or on no location for film
- keep records for company managers
- A degree or Higher National Diploma (HND) is not a mandatory qualification for a career in acting. However, it's common for aspiring actors to pursue studies in fields like media, performing arts, or visual arts. While a few actors may land roles without formal training, most spend years developing their skills, often beginning at an early age.
- Project Development
- Financing & Budgeting
- Pre-Production
- Production Oversight
- Post-Production
- Creative Oversight
- Problem-Solving & Conflict Resolution
- Risk Management
- Post-Release Responsibilities
- Becoming a film or TV producer requires a combination of formal education, industry experience, and key skills. While there is no singular path to becoming a producer, most producers follow a mix of academic, professional, and experiential routes.
- Novels, comic books, and poems.
- Passwords for online accounts such as email and social media platforms.
- Conventions of different text types.
Adobe After Effects experiment
Diegetic Elements:
These are sounds or music that exist within the film's world, meaning the characters can hear them. They are part of the film's narrative environment.
Car Engines: In The Fast and the Furious, the sounds of the Supra and Ferrari engines revving and roaring as they race are diegetic. The characters can hear these sounds as they participate in the race.
Dialogue: Brian O'Conner and Dominic Toretto's conversations, such as their pre-race banter or post-race comments, are diegetic. The characters themselves speak and hear the words.
Street Sounds: Diegetic sounds of the city environment, like honking horns, tires screeching, or pedestrians yelling, are part of the race's setting, and the characters are aware of them.
Non-Diegetic Elements:
These are sounds or music that exist outside the story world, meaning the characters cannot hear them. These elements are used for the audience's experience.
Background Music: The intense, fast-paced music that accompanies the race scenes (like the iconic track "Go 2 Sleep" by DMX) is non-diegetic. It heightens the tension and excitement for the audience but doesn't exist in the characters' world.
Soundtrack during Tension Moments: When Brian prepares to race, the increasing tempo of the soundtrack builds tension. This music serves to amplify the audience's emotional response but is not heard by the characters.
Narrative Voiceover or Inner Thoughts: If there were any voiceover narrations or characters’ inner thoughts, these would be non-diegetic. For instance, if Brian's thoughts were heard as the race progressed (which in this film, isn't the case, but could be a hypothetical example).
After Effects
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This was the normal video without any effects and no editing.
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The script has been conceived in this regard for hiding dead bodies around wooded areas. The storyline is built around a thrill-suspense narrative in which the characters hide the body while trying to evade detection. With the usage of Premiere Pro and After Effects, I also put life into this story as part of the project.
In After Effects, I started with testing things like putting a ghost into the scene. I set some keyframes so that the ghost moves around the screen to create a more eerie atmosphere for the setting. This experiment gave me an understanding of the software's tools and other features. We learned mainly about motion graphics and keyframing, so we became accustomed to playing around with the elements in the scene.
Then there were other things like special effects transitions, and animations in After Effects, which we tried to create suspense and drama in the story. Our goal was to understand the technical aspect of the software and use those skills creatively within the narrative to make it engaging yet stay true to our objective of keeping things dark and mysterious.
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The Booklet
evaluation
The movie
Title sequnce
professional services
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