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neo-noir
Sign in to savethumb|upright=1.1|Lobby card for David Lynch's Blue Velvet (1986), an example of neo-noir. Neo-noir is a film genre from the 1970s, in the era of New Hollywood, which is primarily associated with the subversion and visual style of classic film noir tropes, adapting the themes of 1940s and 1950s American film noir for contemporary audiences, often with vibrant colors and high-contrast, more graphic depictions of violence or sexuality, thematic motifs, and nonlinear narrative or editing.
Article
6 sectionsContents
- Definition
- History
- Characteristics
- See also
- References
- External links
thumb|upright=1.1|Lobby card for David Lynch's Blue Velvet (1986), an example of neo-noir. Neo-noir is a film genre from the 1970s, in the era of New Hollywood, which is primarily associated with the subversion and visual style of classic film noir tropes, adapting the themes of 1940s and 1950s American film noir for contemporary audiences, often with vibrant colors and high-contrast, more graphic depictions of violence or sexuality, thematic motifs, and nonlinear narrative or editing.
During the 1970s and the mid 1980s, the term "neo-noir" surged in popularity, fueled by movies such as Roman Polanski’s Chinatown (1974), Martin Scorsese's Taxi Driver (1976), Sydney Pollack's Absence of Malice (1981), Ridley Scott’s Blade Runner (1982), Paul Verhoeven's The Fourth Man (1983 film) and David Lynch’s Blue Velvet (1986). The French term film noir translates literally to English as "black film", indicating sinister stories often presented in a shadowy cinematographic style. Neo-noir has a similar style but with updated themes, content, style, and visual elements.