Posted: December 3rd, 2013

Commerrcialism: the driving force of american television

Description: 2. The noir hero is a tormented character, doomed to run in circles without a solution. How does the city as labyrinth parallel his emotional state? Which
characters thrive in the city and which ones are destroyed? What urban settings does the neo-noir evoke and how is it that the verticality of the city is
often juxtaposed to the horizontal, inane attempts of the protagonist to run away from his/her problems? How does the spatial structure correspond to the
social structure of the city? Comment on at least two of the films seen in class. You may choose to compare two films from the same period, or two films
that were produced years apart. For example, you could compare the settings of Detour and The Killers, or Chinatown and Devil in a Blue Dress. You
could also choose to comment on the city as character in such disparate films as Double Indemnity and Chinatown. As you examine the urban structures
seen in the films, you may want to consider how the characters try to elude their fate (in the end, do they accept it or reject it? How do they go from
moving towards a desirable goal to moving away from an undesirable outcome?) How do the directors convey such acceptance through pictorial
composition? Think of the role of settings such as diners, motels, rented rooms, and cars in terms of the dynamic of private vs. public spaces and of
centrifugal vs. centripetal spaces (see Dimendberg on âCentrifugal Spaceâ).
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