A strong, bright, white light blinds the viewer; all discriminating sight ceases, rendering the observer without perspective or understanding. Deep music plays. In the blaring light, the silhouette of a man with crutches emerges. Hunched over, he limps toward the camera. He appears to be wearing a long coat and brimmed hat. This is the opening scene of the Billy Wilder film “Double Indemnity,” (1944) a quintessential film noir.
Film noir is a term coined in the 1940s by French critic Nino Frank. Noir, a word literally translating to “black,” is a term used to describe Hollywood crime dramas, especially those of the 1940s and ’50s.
This genre is unique in that it is not only recognized by its themes and story, but largely by its visual aesthetics as well. The visual aesthetics of noir draw from the German Expressionism movement of the early 1900s through the use of low-key lighting – oftentimes creating a chiaroscuro effect, which emphasizes stark contrasts between the light and dark on screen.
Noir still lives in the world today through “The Batman” (2022), “Nightcrawler” (2014), most of Tim Burton’s films and now “The Weekly Frame.” Staff photographers Ana Hunter, Kayden-Harmony Greenstein and Maryam Rahimie set out to photograph the iconic look of noir for this week’s edition.
HENRY KOFMAN
Photo Editor
