Existentialism In Film

EXISTENTIALISM IN FILM I could non guess where or how empirical philosopher themes first emerged in train. Often times, critics forget head up to the work of Ingmar Bergman and Federico Fellini as early examples. Indeed, these cardinal men argon titans in their art, and they will be discussed in this essay. However, it occurs to me that a current genre of film being do in the States during the late forties and early fifties maybe deserves computer address for overcompensateing very early, if not for the first time, heart-to-heart matter and themes that power rightly be called existential age perhaps not straightly inspired by testicle existentialist thought. These films were triggerman in rich black and white, intent in shadows spliced by neon light bleeding intermittently through Venetian blinds, peopled by gravely-boiled characters whose speech was problematical and witty, who were hard drinkers and fast livers. They smoldered with a barely sublimated wild se xual tension. The French critics of the day were the first to hail the brisk style, which they called film noir. Before I proceed, let me be rather view as to how film noir might qualify as a genre worthy of our consideration in tie with existentialist film. As I said, I do not inevitably assert that the film noir genre is a direct dissolving agent of the popularity of existentialist philosophy in America.

frivol away noir does, however, represent rough of the first serious confrontation with authentically dark subject matter, much of which was provoked more by film makers sagacity into the contemporary Ame rican scene than by their third construe of! Being and Nothingness. Film noir does not treat existentialism per se, further it does concern itself with the dark, the absurd and disturbing, the amoral and the severe; in short, it handles material that has do it to be thought of as existential. If you want to get in a full essay, company it on our website: OrderCustomPaper.com

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