“BLACK MOVIES”: GENRE MEMORY OF THE NOIR FILM LANGUAGE IN THE SYSTEM OF AUDIOVISUAL TRANSFORMATIONS (1970s – 2010s)

  • Nataliia Markhaichuk Ph.D. in Art Studies, Associate Professor of the Theory of Culture and Philosophy of Science Department, Faculty of Philosophy, V.N. Karazin Kharkiv National University https://orcid.org/0000-0002-2321-9107
  • Natalia Riabukha Doctor of Art Criticism, Associate Professor, Dean of the Faculty of audiovisual art, Kharkiv State Academy of Culture. https://orcid.org/0000-0002-4182-0289
  • Volodumur Tarasov PhD in History, Associate Professor, Head of the Department of Social and Humanitarian Disciplines, Kharkiv State Academy of Design and Arts. https://orcid.org/0000-0003-2164-9135
Keywords: audiovisual art, cinematography, film language, film genre, “black movies”

Abstract

The issue of “genre memory” in the noir film language is one of the most relevant problems in the modern study of “black” cinema evolution. In spite of the fact that in the recent years, noir has significantly expanded its traditional artistic “cover”, the study of features and ways of its transformation is one of priority vectors of the research. In the context of audiovisual transformations of the early 21st century, noir is represented by at least two genre constructions (post-noir and neo-noir), which also need to be studied in areas related to “diffuseness” of genres and “hybridization” of artistic film language. The main stages of the formation of noir genre paradigm are considered by the authors. These stages are defined and analyzed in the context of tools of artistic film language: compositional and plastic techniques, stylistic solutions and “genre iconography”. Defining three main periods in the development of the “black” cinema, the authors outline its main typical-specific roles, which form various strategies and forms of existence of classical “genre memory” of noir in different systems of cinematic art thinking. Noir showed an extremely high potential for modification, which led to the expressiveness of its subgenre convention. Example of a number of films shows how directors use or borrow traditional aesthetics of noir with the help of expressive means of cinema. In many cases, semiotics of the “black” cinema becomes an object for the search for new artistic and stylistic solutions, which further confirms the genre elasticity of noir. All of the above allows us to state the existence of a kind of “noir” ontology in artistic film tools, which first of all appeals to the lacuna of “genre memory” using particular range of techniques.

Downloads

Download data is not yet available.

References

Arnett, R. (2020). Neo-Noir as Post-Classical Hollywood Cinema. Norjolk: Old Dominion University. 208 p. DOI: https://10.1007/978-3-030-43668-1.

Borde, R., & Chaumeton, E. (1995). Towards a definition of Film Noir. In: Film Noir. Reader 1. New York: Limelight Editions. Рp. 17-25.

Leitch, T. (2004). Crime films. Cambridge University Press: University of Delaware. 386 р.

Shires, J. (2020). Cyber-noir: Cybersecurity and popular culture. Contemporary Security Policy, Volume 41. Рp. 1–26. DOI: https://10.1080/13523260.2019.1670006.

Silver, A. (1995). Son of Noir: Neo-Film Noir and the Neo-B Picture. In: Film Noir. Reader 1. New York: Limelight Editions, 1995. Р.331-338. URL: http://intelligentagent.com/noir/Silver.pdf

Sukovataya, V. (2019). Women in noirs style: the soviet version. The Journal of V.N.Karazin Kharkiv National University. Series: Theory of Culture and Philosophy of Science. № 60. Pp. 90-106. DOI: https://10.26565/2306-6687-2019-60-09. (In Ukrainian).

Verevis, C. (2005). Film Remakes. Edinburgh: University Press. 208 p.

Agranovskiy, N. (2011). More than «Easy Rider»: The Way of Director Dennis Hopper. «Artikult»: scientific journal about culture and art. #3. Рp. 49-56. (In Russian).

Bakina, T. (2014). The image of the past and nostalgic experiences in cinema. Moscow: HSE University, 2014. 56 p. (In Russian).

Isniuk, I. (2014). Aesthetics of film noir in the modern artistic space of Ukraine: values, theoretical research and artistic practice. Mandrivets: All-Ukrainian scientific journal. Ternopil: "Mandrivets". №1. Pp. 71-74. (In Ukrainian).

Kudryashov, I. (2016). Post-50s Film noir: Death, Development, or Postmodern Quotes? Criticism and semiotics. # 1. Pp. 236-252. (In Russian).

Lure, Ya. (2013). Films by David Lynch: stylistics, imagery, author's manner. «Artikult». Faculty of Art History: Scientific Electronic Journal. # 9. Pp. 32-41. URL: https://cyberleninka.ru/article/n/filmy-devida-lincha-stilistika-obraznost-avtorskaya-manera/viewer (In Russian).

Nelyubin, A. (2013). The transformation of the American "tough" detective in the novel by D. Kavanagh (J. Barnes) "City of Scammers". Perm University Bulletin. #1 (21). Pp. 135-139. (In Russian).

Nyagolova, N. (2014). Semiotics of Suicide in «The Big Chill» by Lawrence Kasdan. NLO: new literary review. #6 (130). URL: https://www.nlobooks.ru/magazines/novoe_literaturnoe_obozrenie/130_nlo_6_2014/article/11208/ (In Russian).

Ponomareva, E. (2017). Genre and stylistic organization of the collection of small prose "Moscow noir". Chelyabinsk: YuUrGU. 85 p. (In Russian).

Prohorova, K. (2018). Features of the interpretation of the story "The Assassins" by E. Hemingway in the film adaptation by Robert Siodmak. The facets of science. T.6. # 3. Pp.18-21. (In Russian).

Reshetylo, I. (2013). Translation of intertextual elements in film reviews. Language, consciousness, artistic creativity, the Internet in the mirror of modern philological studies. Collection of scientific works. Kyiv, Kyiv University or Shevchenko University, Kyiv University Publishing and Printing Center. Pp. 276-286. URL: http://www.library.univ.kiev.ua/ukr/host/viking/db/ftp/books/other/mova_svidomist_2013.pdf

Sklyarova, Ya. (2015). German Cinema Expressionist Traditions in American Noir Fylms of the 1940s-1950s. «Artikult» Faculty of Art History: Scientific Electronic Journal. # 18 (2). Pp. 62-65. URL: http://articult.rsuh.ru/articult-18-2-2015/j-a-sklyarova-traditions-of-the-german-genexpression-in-american-films-noir-of-1940-1950.php (In Russian).

Fedorovich, B. (2013). Postmodernism and its understanding in the contemporary artistic space: regional practices (on the example of the Moscow Arts Week of the First Moscow International Performance Festival and the Weeks of Contemporary Art in Lviv). Culture, art, education: problems and development prospects: materials of the scientific-practical conference. Smolensk: SGII. 536 p. (In Russian).

Fedorchenko, O. (2011). Features of the translation of a psychological cinema thriller. Scientific Bulletin of Kherson State University. # 14. Pp. 313-318.

Filonenko, S. (2014). 100 shades of black: noir as a genre and style in modern mass literature. Scientific notes of Berdyansk State Pedagogical University. # II. Pp. 24-31.

Hakimzyanova Ya. (2018). «Tess of the D'Areberville family» in cinematography: reflections on the film adaptation of Roman Polanski. Topical issues of philological science of the XXI century: collection of articles VII Int. scientific. conf.: Part II. Yekaterinburg. Pp. 183-189. (In Russian).

Published
2021-05-31
Cited
How to Cite
Markhaichuk, N., Riabukha, N., & Tarasov, V. (2021). “BLACK MOVIES”: GENRE MEMORY OF THE NOIR FILM LANGUAGE IN THE SYSTEM OF AUDIOVISUAL TRANSFORMATIONS (1970s – 2010s). The Journal of V. N. Karazin Kharkiv National University. Series "Theory of Culture and Philosophy of Science", (63), 57-67. https://doi.org/10.26565/2306-6687-2021-63-07