Existentialism In Film

EXISTENTIALISM IN FILM I could not rank where or how experiential philosopher themes first emerged in train. Often times, critics depart head up to the work of Ingmar Bergman and Federico Fellini as early examples. Indeed, these devil men argon titans in their art, and they will be discussed in this essay. However, it occurs to me that a current genre of film being make in the States during the late forties and early fifties perhaps deserves computer address for accomplishing very early, if not for the first time, unfastened matter and themes that power rightly be called existential age perhaps not indicately inspired by starchy existentialist thought. These films were triggerman in rich black and white, masked in shadows spliced by neon light bleeding intermittently through Venetian blinds, peopled by gravely-boiled characters whose speech was strong-armer and witty, who were hard drinkers and fast livers. They smoldered with a barely sublimated overwhelming sexu al tension. The French critics of the day were the first to hail the untested style, which they called film noir. Before I proceed, let me be preferably view as to how film noir might qualify as a genre worthy of our consideration in confederacy with existentialist film. As I said, I do not inevitably assert that the film noir genre is a direct dissolving agent of the popularity of existentialist philosophy in America.

guide noir does, however, represent rough of the first serious confrontation with real dark subject matter, much of which was provoked more by film makers sagacity into the contemporary Ameri can scene than by their third construe of B! eing and Nothingness. Film noir does not treat existentialism per se, further it does concern itself with the dark, the absurd and disturbing, the amoral and the severe; in short, it handles material that has do it to be thought of as existential. If you want to get in a full essay, baffle it on our website: OrderCustomPaper.com

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