Page 191 - A Handbook Genre Studies in Mass Media

CHAPTER 7

in novels like Theodore Dreiser’s American Tragedy. The film noir genre
(so named because it was fully realized as a genre in films) tells the
story of common “everyman” figures who are moved by circumstances
to commit crimes. This genre presents a subjective world that explores
the boundaries of good/evil, hero/villain, choice/fate, and the law/jus-
tice. Thus, the underlying question posed to the audience is: Could this
happen to you?
In films like The Maltese Falcon (1941) and Double Indemnity (1944),
the use of lighting truly captured the film noir worldview. In this world of
moral relativism, it is difficult to differentiate hero from villain. For instance,
in the film noir classic The Maltese Falcon, it is unclear through much of
the movie whether detective Sam Spade was involved in the murder of his
partner. Indeed, Spade plays on this ambiguity. In the final scene, as Spade
turns in Brigid O’Shaugnessy, he remarks, “Don’t be too sure I’m as crooked
as I’m supposed to be. That sort of reputation might be good business, bring-
ing high priced jobs and making it easier to deal with the enemy.”
Film noir is also characterized by the metaphorical use of lighting.
The genre is defined by its lack of illumination; it is sometimes difficult
for the audience to make visual sense of what appears on screen. In the
same vein, it is difficult for the characters (and the audience) to navigate
their way through the moral ambiguities in the plot. Who are the heroes
and villains? The heroes appear to be corrupt, and likeable characters
are capable of heinous acts.
Lighting techniques also alter the psychological space in the films.
Thematically, the narratives focus on people who are imprisoned by
their own limits. The dim lighting reinforces the sense of isolation and
alienation experienced by the characters. Their perception and judgments
are shortsighted, governed by their impulses and desires. Characters are
seemingly trapped by this lack of light. There is seemingly no escape from
this undercurrent of despair that pervades the worldview of film noir.
Significantly, the use of lighting creates shadows that hide the charac-
ters’ motives and intentions from the audience. In The Maltese Falcon,
two cops pay a call on detective Sam Spade after the death of Spade’s
partner. As the lieutenant asks a series of questions about Spade’s where-
abouts, a shadow from the brim of his hat covers his eyes. At a certain
point, he shifts his head, and the shadow of his intentions disappears, as
he accuses Spade of murder.
At the same time, in film noir, light is often equated with understand-
ing, enlightenment, and goodness. In The Big Sleep (1946), detective

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