The interesting part of this scene is that Frank Bigelow already gets absolution from the sins he is obviously planning to commit through Paula.
Synonyms and antonyms of Femme fatale in the German dictionary of synonyms
The telephone is therefore the means by which the Noir hero gains confidence in his own doomed actions, but also the means by which the audience is shown that he will probably not get away with his intentions. Just when Bigelow gets stuck in his investigations, Paula calls him and provides him with new clues that help him to go on, but these are also clues that bring him one step closer to his fate. Interestingly, the viewer is in the privileged position of being able to see the speakers in their respective environments at both ends of the telephone wire.
In the final phone call, it is again the case that two opposing environments are confronted: Frank is threatened by three gangsters while he for the first time tells Paula that he loves her.
He now regrets that he had to go through this experience to realize what he was risking. As we have seen, telephone calls are always crucial to the plot in Film Noir.
Femme fatale - Wikipedia
Unlike other parts of the story that can sometimes stand for themselves or are only important for the special scene that they are in for example shower scenes or conversations with a taxi driver , scenes that involve a telephone conversation almost always introduce turning points or are substantial to allow the story carry on. The best and most explicit example of the significance of the telephone in the narrative and atmosphere of Film Noir is Sorry, Wrong Number by Anatole Livak. In Sorry, Wrong Number Anatole Litvak, Leona Stevenson, daughter of the owner of a huge pharmaceutical company, accidentally overhears a conversation on the phone of two men planning a murder for that evening.
Being emotionally controlled by and financially dependent on and his wife, the marriage inevitably starts to disintegrate and ultimately leads to his plan to kill her.
The Significance of the Telephone in Film Noir
She does not, however, dominate the narrative, but rather organizes the story by motivating and linking the other narrative voices. There are sixteen phone calls in the film, half of them coming from Leona as she lies ill, yet elegantly dressed and smoking in her bed in her large New York home. She is suffering from a heart disease that makes it impossible for her to pursue a normal life. At the beginning of the film, Leona confidently makes several phone calls and seems to enjoy using her illness and the medium of the phone to control others and to get what she wants.
In the course of the film, however, she may be said to become a victim of both the phone and her illness. Rather than Leona terrorizing the operator and her acquaintances over the phone, it eventually becomes the phone which terrorizes her with its constant ringing and its messages of death.
In her different telephone conversations, it becomes clear that there is web of deception affecting each one of the characters in their relationships to one another and, of course, affecting Leona the most in the end. This is not really a major abuse of the telephone, but it gives us a glimpse into its possible abuses. As well, the audience is once again a privileged viewer who is able to see both ends of the wire and to detect any lying that is going on. The desire to control others has, in effect, led her to surrender control over herself, over her own body, resulting in a kind of mind-body split.
Leona seems estranged from her own body and, as a result, from the people surrounding her. Consequently, her attempts to get into real contact with other people over the phone are doomed to fail. The telephone seems to have always been an essential device with which Leona was able to remain in control and to live her life. Physiologically there are abundant reasons for an extension of ourselves involving us in a state of numbness. Medical researchers like Hans Selye and Adolphe Jonas hold that all extensions of ourselves, in sickness or in health, are attempts to maintain equilibrium.
Her illness is psychosomatic, but she is not aware of this fact. She has voluntarily built up a network that both supports her strategy and one that, at the same time, keeps her trapped inside of it. It uses the telephone to introduce the plot when Leona first hears of the planned murder , to show her relationship to other persons the telephone-conversation with her father , to transport the story Leona calls the police after overhearing the murder call , and for several turning points her getting new information over the phone and the climax the final conversation when Henry admits his plan and tries to help her.
Each way with which the telephone has ever been used in Film Noir is shown in this picture except for her actually being killed with the telephone! Film Noir is filled with telephones of all kinds: Not surprisingly, telephones are often connected to questions of privacy and secrets; they are emblematic of the mystique of communication in a world which is clamorous with sound and at the same time, at its deepest levels, eerily silent. Bond does not hesitate, nor does he check his cell phone to see if the batteries may be low, he simply follows the stranger.
In the normally up-to- date and high-tech world of Bond-films and especially in the media-soaked environment of this particular party it is surprising to watch the hero being summoned to the telephone. Paramount Pictures, - Huston, John.
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Request a new password via email. Table of Contents I. Introduction In the tangled networks of a great city, the telephone is the unseen link between a million lives. First of all, it suits perfectly the demands of showing two opposing environments, in other words of displaying the underlying alienation between people: Telephone Conversations as Turning-Points in the Story Turning-points play a crucial role in every movie. Linda Seger describes six different qualities of turningpoints in her book Making a Good Script Great: The Significance of the Telephone in Sorry, Wrong Number In Sorry, Wrong Number Anatole Litvak, Leona Stevenson, daughter of the owner of a huge pharmaceutical company, accidentally overhears a conversation on the phone of two men planning a murder for that evening.
Conclusion As I have shown, the medium of the telephone is a crucial tool in the narrative of Film Noir. Billy Wilder's Double Indemnity. Die dunkle Seite des klassischen Hollywood-Kinos. Vom Film noir zum Neo noir.
Femme fatale film noir
Das Frauenbild im Film Noir. Film Noir und die soziale Wirklichkeit. Diegese und Mimese im Film Noir. Das Frauenbild des Film Noir. Upload your own papers! Earn money and win an iPhone X.
Upload Papers, win an iPhone X. Each new text counts as one lot! Julia H Mmer, Studienarbeit aus dem Jahr im Fachbereich Filmwissenschaft, Note: Don Juan und Femme fatale: Femme fatale und Beauty-Queen: Hope Solo gegen Wang Fei Cornelia Lanz und Sarah Hudarew werden bei den Schlossfestspielen, die am Jahrhundert erobert ein zwielichtiges Weib die Literatur: Alma Mahler-Werfel Eine Femme fatale des German words that begin with f.
German words that begin with fe.
Related Die Figur der Femme Fatale im Film Noir (German Edition)
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