I will then explore the claim that the style of film noir subverts its own repressive structure. I will therefore conclude that film noir’s representation of the domestic sphere does not constitute an attack on the institution of marriage. I will disagree and note that film noir represents the corrupt domestic sphere as being determined by the qualities of an individual human being rather than the contradictions inherent in the institution of marriage. I will first explore the claim that the representation of the domestic sphere in film noir, rather than being repressive, suggests the beginnings of an attack on the institution of marriage. I will explore two counter-arguments which assert that film noir, although reflecting the dominant ideology in its narrative resolutions, is subversive. In this article, and following ones, I will further explore this claim. I then concluded that the vast de- and re-territorialization of women during and after WWII can be seen as being reflected both directly and obliquely in Film Noir. As well as conforming to the structures and tradition of Hollywood (the Hays Code, screwball comedy and melodrama) I asserted that film noir’s representation of women is determined by its socio-historical context. I cited Double Indemnity as an example of film noirs continuance of this tradition. I then noted that this representation can be located in two other Hollywood genres the screwball comedy and melodrama. I highlighted that this representation conforms to, and was informed by, the repressive structure of the Hays Code. The redeemer exhibits legitimate desires and the destroyer displays excessive desires. These archetypes – the redeemer and the destroyer – are founded on a moral dichotomy between legitimate and illegitimate displays of desire. In the previous four articles (can be accessed here: I, II, III, IV) I argued that Film Noir represents women as conforming to two central archetypes. The Paradox of Suspense III – The Problem Cont.The Paradox of Suspense IV – Noel Carroll’s Account of Suspense.The Paradox of Suspense V – Noel Carroll’s Account of Suspense Cont.The Paradox of Suspense VI – Criticisms of Carroll’s Account.The Paradox of Suspense VII – Further Criticisms of Carroll’s Account.The Paradox of Suspense VIII – Suspense as Arising From Uncertainty Regarding….The Paradox of Suspense IX – Further Conditions of Suspense.The Paradox of Suspense X – Early Steps of a Solution.The Paradox of Suspense XI – Features of the Attention as Engine of Suspense.The Paradox of Suspense XII – Criticisms of my Account.Selecting a region changes the language and/or content on your email address to follow this blog and receive notifications of new posts by email. Your lighting setup while filming is essential for successful high-key imagery, but tweaking your exposure and brightness levels in post-production can help you perfect your video. This angle, combined with a well-lit scene and fill light, will give your subject dimension without creating harsh shadows. Try placing your light sources 30 degrees or so out from the camera. While your goal is to soften and reduce shadows, “never put a light directly in front of your subject, because that’s just going to flatten everything,” as videographer Kenton Waltz explains. “The smaller the light, the harder they look.” High-key images often have lighter backgrounds as well, which helps reflect and amplify the ambient light in a scene. “The larger your source of light, the softer your shadows look,” Hara notes. Large softboxes or diffusers are effective for brightly lighting a scene without adding harsh shadows to your subject. The secret to creating high-key images and videos is using large light sources and soft shadows.
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