Sign in to use this feature.

Years

Between: -

Subjects

remove_circle_outline

Journals

Article Types

Countries / Regions

Search Results (1)

Search Parameters:
Keywords = Diao Yi’nan

Order results
Result details
Results per page
Select all
Export citation of selected articles as:
12 pages, 287 KB  
Article
Revising the Noir Formula in the Chinese Context: Black Coal, Thin Ice and Beyond
by Dinghui Zhou
Arts 2024, 13(1), 12; https://doi.org/10.3390/arts13010012 - 8 Jan 2024
Cited by 2 | Viewed by 5706
Abstract
Noir can be seen as a formula with a set of distinguishable thematic, narrative, and aesthetic elements matured in postwar Hollywood and later recycled, refined, or resisted by filmmakers worldwide. In the past decade, a handful of noirish crime films produced in People’s [...] Read more.
Noir can be seen as a formula with a set of distinguishable thematic, narrative, and aesthetic elements matured in postwar Hollywood and later recycled, refined, or resisted by filmmakers worldwide. In the past decade, a handful of noirish crime films produced in People’s Republic of China particularly reworked this formula to articulate local concerns, one example being Black Coal, Thin Ice. By attempting a comparative analysis of this movie’s characterization with the noir formula’s conventional portrayal, this essay argues that Black Coal, Thin Ice revises the noir formula by drawing more attention to the noir killer’s plight as a demoralized state worker and deconstructing the formulaic presence of the femme fatale as a deadly and powerful seductress. Moving beyond the Black Coal, Thin Ice case, the essay also posits that the recent Chinese noirish crime films’ fusing of stylized chiaroscuro with color lighting to register various existential and psychological concerns enriches the chiaroscuro aesthetic of the noir formula. Full article
(This article belongs to the Special Issue Chinese-Language and Hollywood Cinemas)
Back to TopTop