Juxtaposing our photographs to those of a film noir style including the conventional charcters

As an all girl group we were challenged to recreate all of the conventions so we decided to break some: we had female models representing both femme fatale and protagonist/antagonist...

Above the images are similar however within the school environment we were unable to create the same effect that the Venetian blinds have, although to keep the film noir style we used shadow to emphasize the femme fatale. The eye contact with the camera accentuates the femme fatale conventions since it instills a sense of impotence within the audience.

 The two iconic 'white dressed' pictures are similar though appearance and lack the eye contact which was in the pictures before. We haven't much mise-en-scene in the background like the image above which makes our recreation less effective on the audience. In our image I believe we fail to meet film noir conventions since location and props don't fit with the style and Lane's expression  isn't as demeaning as the character's above.




The photograph above is representative of film noir setting/location since it features an urban setting that looks slightly suspicious. The use of the shadow against the wall creates this suspicious effect, we have used a similar shadow effect to dramatize the situation. This shadow over Mol's face and the shadow against the wall creates enigma for the audience adding to the corrupt connotations of film noir.

Contrast is apparent in these two photos in addition to the conspicuous curves added to the image from sin city. Although not as obvious as the image above, our image holds a comparable likeness around the lips.







Below are a selection of other photographs taken in the style of film noir:

Beneath are a couple of images that I have edited on Adobe Photoshop.

The image of Lane above isn't successful at portraying conventions of a typical femme fatale in film noir because her expression is more frightened than confident,the angle also makes Lane look smaller and weaker accentuating her lack of confidence in this photograph.






This image uses the gun to distort the face, this blocks my expression, however the shadow works well against the white wall, this may have looked better cropped similar to the pictures below. Also this may ave looked better if my shadow emphasized the female form, especially if my facial features were shown on the shadow.

This is one of my favourite photographs that we have taken. The light effect was created through one of us holding a phone torch towards Mol. Simultaneously, I used my hand to create the bullet-like shape with the light. This shape focuses on the conventional femme fatale's red lips.

With this image I have cropped it so that the effect it creates is stronger focusing on my face .The shadow of the gun distorts my face, framing the expression given. The lack of eye contact shows impertinence of the femme fatale as well as the angle we have chosen to take the photograph from.

Research and critical theory: understanding narrative theory

Linear & Non-linear

• Linear - Everything follows a chronological order; the story cannot jump past any stages only follow through one by one.

• Cemetery Junction : this follows Levi Strauss' opposition theory, as well as Barthes' theory which suggests each action follows from the previous, and Propp's fairy tale theory since Freddie Taylor chases his childhood sweetheart (the princess)

• Non-linear - Story-line doesn't follow chronologically, the plot can jump backwards and forwards in time.

• Eternal Sunshine of the Spotless Mind : this follows Levi Strauss' theory of  opposition, this film also follows Propp's and Todarov's theories since it appears to leave an equilibrium that is disrupted and restored while simultaneously following Propp's theory about fairy-tales since Jaroel proceeds to chase Clementine who would fill the character of the princess.

Levi Strauss - Binary oppositions:

 Strauss (1908-2009) created a theory that suggesting : in order to have one independent state (e.g the antagonist - villain) you must have a perception of the opposite (Protagonist - hero) For your perception of the villain to be extremely negative you must have a comparison to somebody displaying positive actions.This is said to drive the narrative.

Tzvetan Todorov - The concept of equilibrium and disequilibrium:

Todorov (From 1939) introduced the theory surrounding the equilibrium. The equilibrium is the normal state that the narrative starts off with, this is disrupted usually by the antagonist, this creates an adventure/journey for the protagonist to restore the former equilibrium, to be followed by a climax and ending with the new equilibrium.

Barthe - Actions and Enigmas:
Barthe's theory presents the theory that in some films the narrative is directed through the actions, one thing happens, which causes the next to happen. Although Barthe's theory also suggests that the enigma can drive the narrative by making the audience wonder what happens next.

Vladimir Propp - Fairy-tales:
Propp indicates that narrative is character driven, that it thrives on the characters present and the actions they pursue.

Examples of Characters from Goldfinger (1964)

The hero, the one who is on a mission, usually to save someone or something (The protagonist)
Example : James Bond

The villains,characters that prevent the hero from completing his mission, usually the cause of the mission (The Antagonist)
Example: Auric Goldfinger and Oddjob

The Doner, the character who tries to help the hero, usually by giving something up.
Example: Tilly Masterson

The Dispatcher, the character who sends the hero on a quest.
 Example: "M"

The Princess, a stereotypical persecuted maiden.

Example: Jill Masterson

The Helper, also known as the 'sidekick' who aims to aid the hero.

Example: Jill Masterson

The False Hero, a character who appears to be good but tricks the hero with bad advice.

Example: (More of a False Villain) Pussy Galore

Sometimes the Princess' Father is included, who usually rewards the hero usually with his daughter.

Media narrative codes from Elaine Humpleby