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Gender, Power and the Film Noir—II Student Edition

Gender, Power and the Film Noir—II Student Edition. Based on Works by Andreia Thaxton Jeneen Surrency Aaron Simmons Greg Thompson. Created and Edited by : Dr. Kay Picart@ 2002. Film Noir--Lecture Outline. This PowerPoint is broken into two sections.

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Gender, Power and the Film Noir—II Student Edition

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  1. Gender, Power and the Film Noir—IIStudent Edition Based on Works by Andreia Thaxton Jeneen Surrency Aaron Simmons Greg Thompson Created and Edited by : Dr. Kay Picart@ 2002

  2. Film Noir--Lecture Outline • This PowerPoint is broken into two sections. • This division should correspond to two fifty minute class sessions.

  3. Film Noir--Lecture Outline (2) • Section One coversJohn Belton’sarticle “Film Noir: Somewhere in the Night,” andL.A. Confidentialas an example of Film Noir • Section Twocovers theBrian Gallaghertext and its relationship to the film • Each section will contain discussion questions relative to the information.

  4. Film Noir: Time, Section Two • Homoeroticism (25 minutes) • Sexual Warfare (25 minutes)

  5. Session Two: Applying Brian Gallagher’s ‘I Love You Too’: Sexual Warfare and Homoeroticism in Billy Wilder’s Double Indemnity” to L.A. Confidential

  6. LAC - “The Threesome” • What is the threesome, according to Gallagher? Continued on Next Slide

  7. LAC - “The Threesome” (2) • Apply the notion of the triangle in L.A. Confidential.

  8. LAC - Antagonism/ Banter • Show that Double Indemnity and L.A. Confidential contain sexual warfare and bantering. Cite specific scenes and use film form language to analyze these. Continued on Next Slide

  9. LAC - Antagonism/ Banter (2) • Compare and contrast the verbal battles in LAC and DI. Continued on Next Slide

  10. LAC - Antagonism/ Banter (3) • Compare Phyllis and Lynn in their verbal sparring abilities and their use of their sexual powers. Cite specific scenes.

  11. LAC - Homoeroticism • Compare LAC and DI’s hints of homoerotic relationships. Cite specific examples, and pay attention to film form. Continued on Next Slide

  12. LAC - Phyllis vs. Lynn • Gallagher notes that in Double Indemnity Phyllis is depicted in a common Film Noir as _____________? (How is her beauty depicted?) Continued on Next Slide

  13. LAC - Phyllis vs. Lynn (2) • How are Phyllis and Lynn depicted? Pay attention to the mechanics of how they are shot. Continued on Next Slide

  14. LAC - Phyllis vs. Lynn (3) • Discuss the camera’s voyeurism as it depicts Phyllis walking down the steps, and how Lynn is first revealed underneath her dark hood.

  15. LAC - Redemption of Woman • According to Gallagher, Double Indemnity suggests that heterosexual relationships are ___________. • In contrast, L.A. Confidential, however, shows that heterosexual relationships are ________________. • Compare and contrast the endings of both films. Continued on Next Slide

  16. LAC - Redemption of Woman (2) • Describe how Lynn looks at the end of L.A. Confidential. What does that imply?

  17. LAC - What do you think? • How does the “love” between Lynn and Bud complicate the homoerotic reading between Bud and Ed? • Does the final scene between Bud and Ed really suggest a “tender moment” that should be read as homoerotic, or is it simply a farewell between partners and sex is irrelevant and circumstantial? • How could you make a claim one way or another? • Does Bud redeem Lynn or does she save him?

  18. Film Key characteristics? Novella Key characteristics? Double Indemnity - Novella vs. Film

  19. Double Indemnity - The Final Product • “What was essentially a murderous story with strong sexual overtones becomes a sexual story with strong murderous overtones.” From: Brian Gallahger “I Love You Too”: Sexual Warfare & Homoeroticism in Billy Wilder’s Double Indemnity.

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