World Library  
Flag as Inappropriate
Email this Article

Tech noir

Article Id: WHEBN0008610758
Reproduction Date:

Title: Tech noir  
Author: World Heritage Encyclopedia
Language: English
Subject: Coming-of-age story, Romance film, Romantic comedy film, Mob film, Monster movie
Collection:
Publisher: World Heritage Encyclopedia
Publication
Date:
 

Tech noir

TechNoir, the nightclub in The Terminator, invokes associations with both film noir and sci-fi.

Tech-noir (also known as future noir and science fiction noir) is a hybrid genre of fiction, particularly film, combining film noir and science fiction, as seen in Alien (1979), Blade Runner (1982), and The Terminator (1984).

Director James Cameron coined the term in The Terminator, using it as the name of a nightclub, but also to invoke associations with both the film noir genre and with futuristic sci-fi.

Precursors

Neo-noir

While it is hard to draw a line between some of the noir films of the early 1960s such as Blast of Silence (1961) and Cape Fear (1962) and the noirs of the late 1950s, new trends emerged in the post-classic era. The Manchurian Candidate (1962), directed by John Frankenheimer, Shock Corridor (1962), directed by Sam Fuller, and Brainstorm (1965), directed by experienced noir character actor William Conrad, all treat the theme of mental dispossession within stylistic and tonal frameworks derived from classic film noir.

The first major film to work a new angle on noir was French director Jean-Luc Godard's Breathless (1960), which pays its literal respects to Bogart and his crime films while brandishing a bold new style for a new day. In 1973, director Robert Altman, who had worked on Peter Gunn, flipped off noir piety with The Long Goodbye. Based on the novel by Raymond Chandler, it features one of Bogart's most famous characters, but in iconoclastic fashion: Philip Marlowe, the prototypical hardboiled detective, is replayed as a hapless misfit, almost laughably out of touch with contemporary mores and morality. Where Altman's subversion of the film noir mythos was so irreverent as to anger many contemporary critics, around the same time Woody Allen was paying affectionate, at points idolatrous homage to the classic mode with Play It Again, Sam (1972). The most acclaimed of the neo-noirs of the era was director Roman Polanski's 1974 Chinatown (1974), which raised noir to a black apogee.

From 1981, the popular Body Heat, written and directed by Lawrence Kasdan, invokes a different set of classic noir elements, this time in a humid, erotically charged Florida setting. Working generally with much smaller budgets, the Coen brothers have created one of the most substantial film oeuvres influenced by classic noir, with movies such as Blood Simple (1984) and Fargo (1996), considered by some a supreme work in the neo-noir mode.

Psycho-noir

Another reworking of the film noir style can be seen in 1980s and 1990s psycho-noir films. The work of David Lynch—particularly Blue Velvet (1986), Lost Highway (1997), Mulholland Drive (2001), and the Twin Peaks cycle, both TV series (1990–91) and movie, Fire Walk with Me (1992)—shows the influence of film noir filtered through a uniquely individualistic vision. Director David Fincher followed the noir science fiction of Alien 3 (1992) and the immensely successful neo-noir Seven (1995) with a film that earns much greater regard today than it did on original release, the psycho-noir Fight Club (1999). A film noir work which projects its protagonist's psychology on screen is Memento (2000), directed by Christopher Nolan.

Science fiction noir

Beginning in the 1960s, the most significant trend in film noir crossovers or hybrids has involved science fiction. In Jean-Luc Godard's Alphaville (1965), Lemmy Caution is the name of the old-school private eye in the city of tomorrow. The Groundstar Conspiracy (1972) centers on another implacable investigator and an amnesiac named Welles. Soylent Green (1973), the first major American example, portrays a dystopian, near-future world via a self-evidently noir detection plot; starring Charlton Heston (the lead in Touch of Evil), it also features classic noir standbys Joseph Cotten, Edward G. Robinson, and Whit Bissell. The movie was directed by Richard Fleischer, who two decades before had directed several strong B noirs, including Armored Car Robbery (1950) and The Narrow Margin (1952).

Development of tech-noir

Minority Report's unique visual style: It was overlit, and the negatives were bleach-bypassed to desaturate the colors in the film, similar to that of neo-noir films.

The cynical and stylish perspective of classic film noir had a formative effect on the cyberpunk genre of science fiction that emerged in the early 1980s; the movie most directly influential on cyberpunk was Blade Runner (1982), directed by Ridley Scott, which pays clear and evocative homage to the classic noir mode (Scott would subsequently direct the noir crime melodrama Someone to Watch Over Me [1987]). Strong elements of tech-noir also feature in Terry Gilliam's "dystopian satire" Brazil (1985) and The City of Lost Children (1995), one of two "Gilliamesque" films by Jean-Pierre Jeunet and Marc Caro that were influenced by Gilliam's work in general and by Brazil in particular (the other one being Delicatessen). Scholar Jamaluddin Bin Aziz has observed how "the shadow of Philip Marlowe lingers on" in such other "future noir" films as 12 Monkeys (Gilliam, 1995), Dark City (1998), and Minority Report (2002).[1] The hero is the target of investigation in Gattaca (1997), which fuses film noir motifs with a scenario indebted to Brave New World. The Thirteenth Floor (1999), like Blade Runner, is an explicit homage to classic noir, in this case involving speculations about virtual reality. Science fiction, noir, and animation are brought together in the Japanese films Ghost in the Shell (1995) and Ghost in the Shell 2: Innocence (2004), both directed by Mamoru Oshii, and the short A Detective Story (2003), set in the Matrix universe.

References

  1. ^ Aziz (2005), section "Future Noir and Postmodernism : The Irony Begins".

Further reading

  • "Tech Noir". Artists Using Science & Technology 23 (2). January–February 2003. 
  • Auger, Emily E. (2011): Tech-Noir Film. A Theory of the Development of Popular Genres. Portland: Intellect, ISBN 9781841504247
This article was sourced from Creative Commons Attribution-ShareAlike License; additional terms may apply. World Heritage Encyclopedia content is assembled from numerous content providers, Open Access Publishing, and in compliance with The Fair Access to Science and Technology Research Act (FASTR), Wikimedia Foundation, Inc., Public Library of Science, The Encyclopedia of Life, Open Book Publishers (OBP), PubMed, U.S. National Library of Medicine, National Center for Biotechnology Information, U.S. National Library of Medicine, National Institutes of Health (NIH), U.S. Department of Health & Human Services, and USA.gov, which sources content from all federal, state, local, tribal, and territorial government publication portals (.gov, .mil, .edu). Funding for USA.gov and content contributors is made possible from the U.S. Congress, E-Government Act of 2002.
 
Crowd sourced content that is contributed to World Heritage Encyclopedia is peer reviewed and edited by our editorial staff to ensure quality scholarly research articles.
 
By using this site, you agree to the Terms of Use and Privacy Policy. World Heritage Encyclopedia™ is a registered trademark of the World Public Library Association, a non-profit organization.
 



Copyright © World Library Foundation. All rights reserved. eBooks from Hawaii eBook Library are sponsored by the World Library Foundation,
a 501c(4) Member's Support Non-Profit Organization, and is NOT affiliated with any governmental agency or department.