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Nigra filmo

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A high-contrast black-and-white image. White fog or smoke fills the background. In the left foreground is the silhouette of a woman wearing a calf-length skirt. To the right, at a further distance, is the silhouette of a man wearing a fedora.
Du siluetaj bildoj en The Big Combo (1955). Tiu filmo havis fotarton de John Alton, nome kreinto de multaj stiligitaj bildoj de nigra filmo.
Fred McMurray kaj Barbara Stanwick en la klasika nigra filmo "Double Indemnity" (duobla vivasekuro), reĝisorita de Billy Wilder en 1944
Famaj aktoroj ĉe Nigra filmo

Nigra filmo aŭ nigra kino estas kina termino uzita ĉefe por priskribi stilajn krimdramojn de Holivudo, partikulare tiuj filmoj kiuj emfazas cinikajn sintenojn kaj seksajn kondutojn. La periodo de klasika nigra filmo de Holivudo estas ĝenerale konsiderata kiel etenda el komenco de la 1940-aj jaroj al la fino de la 1950-aj jaroj. La nigra filmo de tiu epoko estas asocia kun vida stilo por serĉi nigrablankan efikon similan al Chiaroscuro kiu havas radikojn en la germanekspresionisma kino.

Multaj el la prototipaj historioj kaj multo de la sinteno de klasika nigra kino derivas el la kortuŝa skolo de krimfikcio kiu aperis en Usono dum la Granda depresio; kaj ankaŭ en la detektiva ĝenro (angle hard boiled detective), kreita fare de verkistoj kiel Dashiell Hammett kaj Raymond Chandler, sed ĝiaj pli profundaj radikoj reiras al germana ekspresionismo de la 1920-aj jaroj kaj al la brita "gotika romano" de la 18-a kaj 19-a jarcentoj.

La termino "nigra filmo" estis elpensita de franca filmkritikisto Nino Frank nur en 1946, post serĉado de difino, kiu kunigus iuj filmoj kiel The Maltese Falcon, Laura (Reĝisoro: Otto Preminger, 1944), Murder, My Sweet (murdo, mia kara, reĝisoro: Edward Dmytryk, 1944), Double Indemnity (Billy Wilder), The Woman in the Window (reĝisoro: Joe Wright, 1944) kaj Scarlet Street (1945) (reĝisoro: Fritz Lang), kaj ne estis konataj al la kreintoj de la "nigra filmo" kiuj funkciis ekde la fruaj 1940-aj jaroj. Tiu stilo estis difinita retrospektivo fare de filmakademiuloj kaj kritikistoj. Multaj tiuj produktoroj koncedis ke kreante ili estis nekonsciaj ke ili kreis tiun karakterizan stilon de kinematografio.

La nigra filmo prezentas siajn protagonistojn en nihilisma kaj ekzistadisma mondo. La protagonisto en la nigra filmo, same kiel la fiulo, estas ofte cinika, sobra-rezignacieca, ofte soleca, kaj rilata al terura okazaĵo en sia pasinteco.

Laŭ kinematografia stilo kaj tekniko, la nigra filmo temigas noktajn scenojn, emfazante kaj ombrojn kaj nekutimajn fotatajn angulojn. Fotado estas kutime en nigrablankaĵo.

Kelkaj ekzemploj

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Influoj kaj sekvo

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Spite la precizan klasikan epokon de la nigra kino en la periodo post la Dua Mondmilito, tiu stilo foje reaperas laŭlonge de la tuta 20a jarcento kaj eĉ al la 21a, ne nepre retenante la nigrablankecon kiel ĉe Basic Instinct (1992) kun devojiĝoj ekzemple al sciencfikcio, parodioj ktp.

Tamen el la niga filmo naskiĝis substilojn, kiuj estas konataj hodiaŭ kiel "Post-nigra", "Nov-nigra", kaj "Tek-nigra".

Inter la filmoj rekte asociitaj kun la heredaĵo de la nigra filmo estas verkoj kiel ekzemple Chinatown (1974) reĝisorita fare de Roman Polanski, Blue Velvet (1986) de David Lynch, L.A. Confidential de de Curtis Hanson (1997), Batman de Tim Burton (1989) kaj Memento (2000) de Christopher Nolan, same kiel sciencfikciaj filmoj kiel ekzemple Blade Runner (1982), The Terminator (1984). Kaj eĉ postmodernaj parodioj kiel Miller's Crossing (1990) kaj The Man Who Wasn't There (2001) de la Fratoj Coen.

En Esperanto

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Fontoj

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Bibliografio

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  • Auerbach, Jonathan (2011). Film Noir and American Citizenship. Durham, N.C.: Duke University Press. ISBN 978-0-8223-4993-8
  • Chopra-Gant, Mike (2005). Hollywood Genres and Postwar America: Masculinity, Family and Nation in Popular Movies and Film Noir. London: IB Tauris. ISBN 978-1-85043-838-0
  • Cochran, David (2000). America Noir: Underground Writers and Filmmakers of the Postwar Era. Washington, D.C.: Smithsonian Institution Press. ISBN 978-1-56098-813-7
  • Dickos, Andrew (2002). Street with No Name: A History of the Classic American Film Noir. Lexington: University Press of Kentucky. ISBN 978-0-8131-2243-4
  • Dimendberg, Edward (2004). Film Noir and the Spaces of Modernity. Cambridge, Mass., and London: Harvard University Press. ISBN 978-0-674-01314-8
  • Dixon, Wheeler Winston (2009). Film Noir and the Cinema of Paranoia. New Brunswick, N.J.: Rutgers University Press. ISBN 978-0-8135-4521-9
  • Grossman, Julie (2009). Rethinking the Femme Fatale in Film Noir: Ready for Her Close-Up. Basingstoke, UK: Palgrave Macmillan. ISBN 978-0-230-23328-7
  • Hannsberry, Karen Burroughs (1998). Femme Noir: Bad Girls of Film. Jefferson, N.C.: McFarland. ISBN 978-0-7864-0429-2
  • Hannsberry, Karen Burroughs (2003). Bad Boys: The Actors of Film Noir. Jefferson, N.C.: McFarland. ISBN 978-0-7864-1484-0
  • Hare, William (2003). Early Film Noir: Greed, Lust, and Murder Hollywood Style. Jefferson, N.C.: McFarland. ISBN 978-0-7864-1629-5
  • Hogan, David J. (2013). Film Noir FAQ. Milwaukee, WI: Hal Leonard. ISBN 978-1-55783-855-1
  • Kaplan, E. Ann, ed. (1998). Women in Film Noir, new ed. London: British Film Institute. ISBN 978-0-85170-666-5
  • Keaney, Michael F. (2003). Film Noir Guide: 745 Films of the Classic Era, 1940–1959. Jefferson, N.C.: McFarland. ISBN 978-0-7864-1547-2
  • Mason, Fran (2002). American Gangster Cinema: From Little Caesar to Pulp Fiction. Houndmills, UK: Palgrave. ISBN 978-0-333-67452-9
  • Mayer, Geoff, and Brian McDonnell (2007). Encyclopedia of Film Noir. Westport, Conn.: Greenwood. ISBN 978-0-313-33306-4
  • McArthur, Colin (1972). Underworld U.S.A. New York: Viking. ISBN 978-0-670-01953-3
  • Osteen, Mark. Nightmare Alley: Film Noir and the American Dream (Johns Hopkins University Press; 2013) 336 pages; interprets film noir as a genre that challenges the American mythology of upward mobility and self-reinvention.
  • Palmer, R. Barton (1994). Hollywood's Dark Cinema: The American Film Noir. New York: Twayne. ISBN 978-0-8057-9335-2
  • Palmer, R. Barton, ed. (1996). Perspectives on Film Noir. New York: G.K. Hall. ISBN 978-0-8161-1601-0
  • Pappas, Charles (2005). It's a Bitter Little World: The Smartest, Toughest, Nastiest Quotes from Film Noir. Iola, Wisc.: Writer's Digest Books. ISBN 978-1-58297-387-6
  • Rabinowitz, Paula (2002). Black & White & Noir: America's Pulp Modernism. New York: Columbia University Press. ISBN 978-0-231-11481-3
  • Schatz, Thomas (1997). Boom and Bust: American Cinema in the 1940s. Berkeley, Los Angeles, and London: University of California Press. ISBN 978-0-684-19151-5
  • Selby, Spencer (1984). Dark City: The Film Noir. Jefferson, N.C.: McFarland. ISBN 978-0-89950-103-1
  • Shadoian, Jack (2003). Dreams and Dead Ends: The American Gangster Film, 2d ed. Oxford and New York: Oxford University Press. ISBN 978-0-19-514291-4
  • Silver, Alain, and James Ursini (1999). The Noir Style. Woodstock, N.Y.: Overlook Press. ISBN 978-0-87951-722-9
  • Spicer, Andrew (2002). Film Noir. Harlow, UK: Pearson Education. ISBN 978-0-582-43712-8
  • Starman, Ray (2006). TV Noir: the 20th Century. Troy, N.Y.: The Troy Bookmakers Press. ISBN 978-1-933994-22-2

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