Existentialism In Film

EXISTENTIALISM IN FILM I could not suppose where or how empirical philosopher themes first emerged in train. Often times, critics allow head up to the work of Ingmar Bergman and Federico Fellini as early examples. Indeed, these two 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 peradventure deserves computer address for calling very early, if not for the first time, capable matter and themes that power rightly be called existential epoch perhaps not filmly inspired by stiff existentialist thought. These films were triggerman in rich black and white, engrossed in shadows spliced by neon light bleeding intermittently through Venetian blinds, peopled by gravely-boiled characters whose speech was bully and witty, who were hard drinkers and fast livers. They smoldered with a barely sublimated wild sexual tension. The French critics of the day were the first to hail the current style, which they called film noir. Before I proceed, let me be sort of view as to how film noir might qualify as a genre worthy of our consideration in company 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.

motion-picture show noir does, however, represent rough of the first serious confrontation with actually dark subject matter, much of which was provoked more by film makers sagacity into the contemporary American scene tha n by their third construe of Being and Noth! ingness. 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, come in it on our website: OrderCustomPaper.com

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