Textual Deconstruction - Neo-Noir

Red Riding - 1974


Red riding begins with a camera panning up as if travelling through ground to light, as the camera reaches above the earth, chiaroscuro is used between the darkness of the night and the vivid white of wings on a child's body. This technique is common in traditional Noirs to define the contrast of light and dark. A droning sound is heard through out this, which is used to create tension and suspense. The scene then cuts to our 'protagonist' covered in dirt/blood dropping a gun. The colours used here appear quite desaturated, which is a common factor in Neo-Noirs. As the beginning scenes unfold there is a sense of disorientation due to the blurring of the image and moving camera. This is perhaps used to intrigue the viewer as to what has been occurring, it is also commonly used to distort the storyline, which alludes back to the twisting, maze-like plot of a Noir.

As the scene moves into current day, we meet our protagonist. The setting is one of morbid dystopia due to the rain, cloudy sky and deserted road which appears to be in the middle of no-where. This dystopian setting is often used in traditional film Noirs to emphasise the dark themes. Traditional Noirs are often set in suburban areas, Red Riding subverts this and places itself in a rural marshland. Acoustic guitar music plays throughout the car journey, which is a modernisation from olden Noir, yet still sends the feeling of isolation. This isolation is also portrayed through the narration, again a convention of Noir. Whilst driving, the protagonist is smoking. This is often a signifier in a film Noir, traditionally it shows seduction and mystery. 

As the scene moves into a dull and smoky room, we are informed that our protagonist is in fact a traditional anti-hero, as he has failed in his job in London. The colours used in the room are all very dull and desaturated, highlighting the melancholy tone. The 'law enforcement' characters inform the viewer that a child is missing, which refers to the opening scene where we see a body of a child. This narrative of murder reverts back to traditional Noir.



Blade Runner

Blade Runner is a classic example of a 'modern' neo-noir. Set years in the future, the film is still able to incorporate traditional Noir conventions. The opening scene conveys a wide darkened sky scape which is pierced by the blaze of fires and lights. This merges classic chiaroscuro into 'modern' day. Film Noir is most often recognised through the strong use of light and shadows, this is shown in the scene where characters are first introduced in Blade Runner.The surroundings appear very desolate and dystopian emphasising the darkly thematic plot. Noir often attempts to create a feeling of hopelessness and anguish through its setting. The music score is far from conventional as it includes electrical sounds and drones created from machines rather than orchestral.

A figure is then introduced in a shadowed and smoky room, the darkened silhouette accentuated in white light (again applying chiaroscuro). The character smokes which adds elements of mystery and rebellion, traits associated with orthodox Noir. Blade Runner does not create a sense of realism which is something Noirs traditionally try to do, differentiating it from customs.

Mulholland Drive

Mulholland Drive appears to conform most to traditional film noir conventions than the previous films I have observed. The opening scene shows classic 50's style dancing surrounded in bright coloured lights. This style of dancing and such is quite fitting to the Noir genre, and so fits in with conventions.

The scene then transcends to a darknened road in which the camera is following  a moving car. The headlights of the car act as spotlights, which interjects classic chiaroscuro. The music in the background is orchestral and high pitched, which is a classic effect for building tension/suspence, a factor almost always included in film Noir.

The 'femme fatale' is then introduced, dimly lit in a dark car. She wears traditional dark makeup and lipstick, and appears the most conventional character. The driver threatens the 'femme fatale' with a gun, a classic signifier. The plot then thickens as the car crashes and our protagonist limps away from the wreckage. The narrative of attempted murder becomes clear here, which is one oftened assosiated with Noir. The two main characters create a kind of chiaroscuro through both their images, and the storylines that they are involved in.