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* ''Les Enquêtes Polar de Philippine Lomar''. Besides being right there in the title ("polar", the French term for "noir"), the eponymous teenage detective regularly helps clients, has a PrivateEyeMonologue, and deals with criminals from the seedy underworld.
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* ''ComicBook/TheNewTeenTitans'' arc "ComicBook/WhoIsDonnaTroy" has serious noir overtones, especially the first few pages featuring [[ComicBook/{{Nightwing}} Dick]] in a dark office lit dramatically with light coming in through the blinds while looking at pictures and other evidence relating to the case he's taken for [[ComicBook/WonderGirl Donna]].
to:
* ''ComicBook/TheNewTeenTitans'' ''ComicBook/NewTeenTitans'' arc "ComicBook/WhoIsDonnaTroy" has serious noir overtones, especially the first few pages featuring [[ComicBook/{{Nightwing}} Dick]] in a dark office lit dramatically with light coming in through the blinds while looking at pictures and other evidence relating to the case he's taken for [[ComicBook/WonderGirl Donna]].
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Spelling/grammar fix(es), Added example(s)
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->''"You need cops, venetian blinds, lots of smoking, hats, sweat, dead-end streets, guys who know all the angles except for the one that ends up sticking out of their backs. Sirens of the automotive and female kind."''
to:
->''"You need cops, venetian Venetian blinds, lots of smoking, hats, sweat, dead-end streets, guys who know all the angles except for the one that ends up sticking out of their backs. Sirens of the automotive and female kind."''
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Film Noir is not really a genre in any sense, rather it reflects a tendency in certain American films of the '40s and '50s where crime and gangster stories are infused with an excessive visual style, a modern urban sensibility and a powerful sense of moral ambiguity. These movies differed from the crime movies of the '30s, the Depression Gangster films such as ''Film/ThePublicEnemy1931'' or ''Film/Scarface1932'', in that criminal behaviour is no longer relegated to gangsters or ethnic ghettos, and the plots don't usually revolve around turf wars or police clampdowns.
Protagonists in films noir are often normal people (classically, but not necessarily, a PrivateDetective) who get involved in crime, and the motivations are no longer just social or circumstantial but psychological and personal. The standard noir plot is, in broad terms, best summed up as centering around a protagonist who, usually by pure chance, is placed in a complex and dangerous situation completely beyond their control where they are pitted against an adversary whose identity and motives are not immediately obvious. The system and the law is usually either [[PoliceAreUseless apathetic to their plight]] or is even [[DirtyCop outright working against them]], meaning that they will have to take up the fight and make sense of it all by themselves or die trying. As a style and sensibility, Film Noir was flexible to include hybrids such as the Western-Film Noir (The 1947 film ''Pursued'' with flashbacks, DarkAndTroubledPast, high contrast black and white lighting and weird Freudian themes), and even the film-noir musical (''The Man I Love, Love Me and Leave Me'') and in the case of ''Leave Her to Heaven'' a Film Noir in technicolor.
Trying to explain Film Noir is hard, since it's kind of a mix of European cynicism and post-war American angst. It involves a clash between crude pulp fiction narratives and complex storytelling and characterization, which itself derived from emerging psychological research on criminal behavior, as well as wider influences in modern art and literature. The term was first used by French critics (hence the name), and it derives from "Serie Noir", the label of French translations of American pulp fiction, and French imitations thereof, [[ForeignCultureFetish which were highly popular in France at the time]]. French critics looked at the American crime films from ''their'' perspectives of post-Occupation France, which to some extent led them to overemphasize the doom and gloom of American films by projecting their experiences onto their interpretations of these films. Later, American writers when translating these articles into English brought this into PopCulturalOsmosis.
Protagonists in films noir are often normal people (classically, but not necessarily, a PrivateDetective) who get involved in crime, and the motivations are no longer just social or circumstantial but psychological and personal. The standard noir plot is, in broad terms, best summed up as centering around a protagonist who, usually by pure chance, is placed in a complex and dangerous situation completely beyond their control where they are pitted against an adversary whose identity and motives are not immediately obvious. The system and the law is usually either [[PoliceAreUseless apathetic to their plight]] or is even [[DirtyCop outright working against them]], meaning that they will have to take up the fight and make sense of it all by themselves or die trying. As a style and sensibility, Film Noir was flexible to include hybrids such as the Western-Film Noir (The 1947 film ''Pursued'' with flashbacks, DarkAndTroubledPast, high contrast black and white lighting and weird Freudian themes), and even the film-noir musical (''The Man I Love, Love Me and Leave Me'') and in the case of ''Leave Her to Heaven'' a Film Noir in technicolor.
Trying to explain Film Noir is hard, since it's kind of a mix of European cynicism and post-war American angst. It involves a clash between crude pulp fiction narratives and complex storytelling and characterization, which itself derived from emerging psychological research on criminal behavior, as well as wider influences in modern art and literature. The term was first used by French critics (hence the name), and it derives from "Serie Noir", the label of French translations of American pulp fiction, and French imitations thereof, [[ForeignCultureFetish which were highly popular in France at the time]]. French critics looked at the American crime films from ''their'' perspectives of post-Occupation France, which to some extent led them to overemphasize the doom and gloom of American films by projecting their experiences onto their interpretations of these films. Later, American writers when translating these articles into English brought this into PopCulturalOsmosis.
to:
Film Noir is not really a genre in any sense, rather it reflects a tendency in certain American films of the '40s and '50s where crime and gangster stories are infused with an excessive visual style, a modern urban sensibility sensibility, and a powerful sense of moral ambiguity. These movies differed from the crime movies of the '30s, the Depression Gangster films such as ''Film/ThePublicEnemy1931'' or ''Film/Scarface1932'', in that criminal behaviour is no longer relegated to gangsters or ethnic ghettos, and the plots don't usually revolve around turf wars or police clampdowns.
Protagonists infilms film noir are often normal people (classically, but not necessarily, a PrivateDetective) who get involved in crime, and the motivations are no longer just social or circumstantial but psychological and personal. The standard noir plot is, in broad terms, best summed up as centering around a protagonist who, usually by pure chance, is placed in a complex and dangerous situation completely beyond their control where they are pitted against an adversary whose identity and motives are not immediately obvious. The system and the law is usually either [[PoliceAreUseless apathetic to their plight]] or is even [[DirtyCop outright working against them]], meaning that they will have to take up the fight and make sense of it all by themselves or die trying. As a style and sensibility, Film Noir was flexible to include hybrids such as the Western-Film Noir (The 1947 film ''Pursued'' with flashbacks, DarkAndTroubledPast, high contrast black and white lighting and weird Freudian themes), and even the film-noir musical (''The Man I Love, Love Me and Leave Me'') and in the case of ''Leave Her to Heaven'' a Film Noir in technicolor.
Trying to explain Film Noir ishard, hard since it's kind of a mix of European cynicism and post-war American angst. It involves a clash between crude pulp fiction narratives and complex storytelling and characterization, which itself derived from emerging psychological research on criminal behavior, as well as wider influences in modern art and literature. The term was first used by French critics (hence the name), and it derives from "Serie Noir", the label of French translations of American pulp fiction, and French imitations thereof, [[ForeignCultureFetish which were highly popular in France at the time]]. French critics looked at the American crime films from ''their'' perspectives of post-Occupation France, which to some extent led them to overemphasize the doom and gloom of American films by projecting their experiences onto their interpretations of these films. Later, American writers when translating these articles into English brought this into PopCulturalOsmosis.
Protagonists in
Trying to explain Film Noir is
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Noir can also be seen as a successor to the GothicHorror novels of the 19th Century, moved from the decrepit castles of Romanticism and into the city streets of Modernism, and most forms of "new Gothic" - such as SouthernGothic, Southern Ontario Gothic, and especially SuburbanGothic - will have a heavy dose of noir influence. Both traditions typically revolve around around some sort of [[AwfulTruth terrible secret]] coming to light, a general air of unease and paranoia, a feeling of alienation from one's surroundings, and a middle-class distrust of the rich, although noir typically trades in the [[AristocratsAreEvil evil aristocracy]] for [[CorruptCorporateExecutive businessmen]] and {{corrupt politician}}s. Noir is also usually more masculine than the female-driven Gothics and more likely to have a male protagonist, although both forms typically rely heavily on sweltering sexual tension - just as the Gothic [[TheIngenue ingenue]] was tempted by the ByronicHero, the noir hero finds himself caught up in the wiles of the FemmeFatale. Like the Gothic HauntedHeroine, the noir hero may be haunted by his own inner demons (though usually of a less supernatural kind), but the closest he can come to her IncorruptiblePurePureness is being a KnightInSourArmor. If, when it comes down to it, he does the right thing even when he knows it will cost him greatly (and he might not), the universe will not reward him for his inner nobility - in contrast to the Gothic, which, despite its darkness, is at heart a fairly idealistic tradition where good perseveres and [[HolyBurnsEvil crosses repel vampires]]. There are no such guarantees in noir. Being a DoomedMoralVictor will have to be enough for the noir hero; as Creator/RobertMitchum says in ''Film/OutOfThePast'', "Build my gallows high." Just as solving the mystery is an act of imposing order on chaos, so too is choosing [[TheAntiNihilist to follow a moral code in an amoral world]].
The standard Noir landscape is [[CityNoir a large, oppressive city (filmed in dark and dusky conditions to create a moody atmosphere)]]. Familiar haunts include cheap hotels, dimly-lit bars, [[BadGuyBar nightclubs filled with questionable clientele]] (including the {{Gayngster}}) whom the lead may intimidate for information, gambling dens, juke joints and the ubiquitous seedy [[AbandonedWarehouse waterfront warehouse]] filled with [[CrateExpectations crates]] that FellOffTheBackOfATruck. At night in the big city, you can bet the streets are slick with rain, reflecting streetlights like a Hopper painting. [[HumansAreBastards Most of the characters (including the lead) are cynical, misanthropical and hopeless]] all the way through the film, and maynever find [[RedemptionQuest true redemption]] - and if they do, [[RedemptionEqualsDeath it won't come cheap]].
It is important to note that the term "Film Noir" was not available to the people who made them in the '40s and '50s. To quote Robert Mitchum once again, "We called them B-Movies." It comes from later audiences and critics who rediscovered these films in revival theaters and clubs and picked up the subtext, visual clues and other HiddenDepths. Many historians feel that the classic Film Noir genre died when it became self-conscious. Raymond Borde and Etienne Chaumenton cite the MGM musical ''The Band Wagon'' (made in 1952), where the final number featured a technicolor parody of a Mickey Spillane crime setting, with Creator/FredAstaire and Cyd Charisse playing the detective and femme fatale in an obvious send-up. Others feel that Creator/OrsonWelles' ''Film/TouchOfEvil'' was the real end, since it was made by the director of ''Film/CitizenKane'' (which, while not a Noir, influenced the lighting and style of several other films noir), and the genre conventions were pretty much stretched inside and outside. They also argue that Noir only worked in a climate of censorship, as the crime genre often fell BeneathSuspicion allowing writers and directors more chances to subvert cliches. Once censorship eroded, Film Noir had pretty much served its purpose and achieved its goals.
The standard Noir landscape is [[CityNoir a large, oppressive city (filmed in dark and dusky conditions to create a moody atmosphere)]]. Familiar haunts include cheap hotels, dimly-lit bars, [[BadGuyBar nightclubs filled with questionable clientele]] (including the {{Gayngster}}) whom the lead may intimidate for information, gambling dens, juke joints and the ubiquitous seedy [[AbandonedWarehouse waterfront warehouse]] filled with [[CrateExpectations crates]] that FellOffTheBackOfATruck. At night in the big city, you can bet the streets are slick with rain, reflecting streetlights like a Hopper painting. [[HumansAreBastards Most of the characters (including the lead) are cynical, misanthropical and hopeless]] all the way through the film, and maynever find [[RedemptionQuest true redemption]] - and if they do, [[RedemptionEqualsDeath it won't come cheap]].
It is important to note that the term "Film Noir" was not available to the people who made them in the '40s and '50s. To quote Robert Mitchum once again, "We called them B-Movies." It comes from later audiences and critics who rediscovered these films in revival theaters and clubs and picked up the subtext, visual clues and other HiddenDepths. Many historians feel that the classic Film Noir genre died when it became self-conscious. Raymond Borde and Etienne Chaumenton cite the MGM musical ''The Band Wagon'' (made in 1952), where the final number featured a technicolor parody of a Mickey Spillane crime setting, with Creator/FredAstaire and Cyd Charisse playing the detective and femme fatale in an obvious send-up. Others feel that Creator/OrsonWelles' ''Film/TouchOfEvil'' was the real end, since it was made by the director of ''Film/CitizenKane'' (which, while not a Noir, influenced the lighting and style of several other films noir), and the genre conventions were pretty much stretched inside and outside. They also argue that Noir only worked in a climate of censorship, as the crime genre often fell BeneathSuspicion allowing writers and directors more chances to subvert cliches. Once censorship eroded, Film Noir had pretty much served its purpose and achieved its goals.
to:
Noir can also be seen as a successor to the GothicHorror novels of the 19th Century, moved from the decrepit castles of Romanticism and into the city streets of Modernism, and most forms of "new Gothic" - such as SouthernGothic, Southern Ontario Gothic, and especially SuburbanGothic - will have a heavy dose of noir influence. Both traditions typically revolve around around some sort of [[AwfulTruth terrible secret]] coming to light, a general air of unease and paranoia, a feeling of alienation from one's surroundings, and a middle-class distrust of the rich, although noir typically trades in the [[AristocratsAreEvil evil aristocracy]] for [[CorruptCorporateExecutive businessmen]] and {{corrupt politician}}s. Noir is also usually more masculine than the female-driven Gothics and more likely to have a male protagonist, although both forms typically rely heavily on sweltering sexual tension - just as the Gothic [[TheIngenue ingenue]] was tempted by the ByronicHero, the noir hero finds himself caught up in the wiles of the FemmeFatale. Like the Gothic HauntedHeroine, the noir hero may be haunted by his own inner demons (though usually of a less supernatural kind), but the closest he can come to her IncorruptiblePurePureness is being a KnightInSourArmor. If, when it comes down to it, he does the right thing even when he knows it will cost him greatly (and he might not), the universe will not reward him for his inner nobility - in contrast to the Gothic, which, despite its darkness, is at heart a fairly idealistic tradition where good perseveres and [[HolyBurnsEvil crosses repel vampires]]. There are no such guarantees in noir. Being a DoomedMoralVictor will have to be enough for the noir hero; as Creator/RobertMitchum says in ''Film/OutOfThePast'', "Build my gallows high." Just as solving the mystery is an act of imposing order on chaos, so too is choosing [[TheAntiNihilist to follow a moral code in an amoral world]].
The standard Noir landscape is [[CityNoir a large, oppressive city (filmed in dark and dusky conditions to create a moody atmosphere)]]. Familiar haunts include cheap hotels, dimly-lit bars, [[BadGuyBar nightclubs filled with questionable clientele]] (including the {{Gayngster}}) whom the lead may intimidate for information, gambling dens, juke joints and the ubiquitous seedy [[AbandonedWarehouse waterfront warehouse]] filled with [[CrateExpectations crates]] that FellOffTheBackOfATruck. At night in the big city, you can bet the streets are slick with rain, reflecting streetlights like a Hopper painting. [[HumansAreBastards Most of the characters (including the lead) are cynical, misanthropical and hopeless]] all the way through the film, andmaynever may never find [[RedemptionQuest true redemption]] - and if they do, [[RedemptionEqualsDeath it won't come cheap]].
It is important to note that the term "Film Noir" was not available to the people who made them in the '40s and '50s. To quote Robert Mitchum once again, "We called them B-Movies." It comes from later audiences and critics who rediscovered these films in revival theaters and clubs and picked up the subtext, visualclues clues, and other HiddenDepths. Many historians feel that the classic Film Noir genre died when it became self-conscious. Raymond Borde and Etienne Chaumenton cite the MGM musical ''The Band Wagon'' (made in 1952), where the final number featured a technicolor parody of a Mickey Spillane crime setting, with Creator/FredAstaire and Cyd Charisse playing the detective and femme fatale in an obvious send-up. Others feel that Creator/OrsonWelles' ''Film/TouchOfEvil'' was the real end, since it was made by the director of ''Film/CitizenKane'' (which, while not a Noir, influenced the lighting and style of several other films noir), and the genre conventions were pretty much stretched inside and outside. They also argue that Noir only worked in a climate of censorship, as the crime genre often fell BeneathSuspicion allowing writers and directors more chances to subvert cliches. Once censorship eroded, Film Noir had pretty much served its purpose and achieved its goals.
The standard Noir landscape is [[CityNoir a large, oppressive city (filmed in dark and dusky conditions to create a moody atmosphere)]]. Familiar haunts include cheap hotels, dimly-lit bars, [[BadGuyBar nightclubs filled with questionable clientele]] (including the {{Gayngster}}) whom the lead may intimidate for information, gambling dens, juke joints and the ubiquitous seedy [[AbandonedWarehouse waterfront warehouse]] filled with [[CrateExpectations crates]] that FellOffTheBackOfATruck. At night in the big city, you can bet the streets are slick with rain, reflecting streetlights like a Hopper painting. [[HumansAreBastards Most of the characters (including the lead) are cynical, misanthropical and hopeless]] all the way through the film, and
It is important to note that the term "Film Noir" was not available to the people who made them in the '40s and '50s. To quote Robert Mitchum once again, "We called them B-Movies." It comes from later audiences and critics who rediscovered these films in revival theaters and clubs and picked up the subtext, visual
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Film Noir usually features the AntiHero, AntiVillain, VillainProtagonist, the ambiguity often resting on questions of trust, leading to an atmosphere of paranoia where PoorCommunicationKills regularly. The conclusion may or may not tie up all the loose ends, with the major mystery being the [[GreyAndGrayMorality morally ambiguous theme]] of the story. These factors contribute to the widely-held opinion that [[TrueArtIsAngsty Film Noir works are among the best artistic works of all time]] and contributed greatly to the maturity of cinema as an artform.
See FilmNoirIndex for a listing of live-action films noir. Examples from other media are listed below.
See FilmNoirIndex for a listing of live-action films noir. Examples from other media are listed below.
to:
Film Noir usually features the AntiHero, AntiVillain, VillainProtagonist, the ambiguity often resting on questions of trust, leading to an atmosphere of paranoia where PoorCommunicationKills regularly. The conclusion may or may not tie up all the loose ends, with the major mystery being the [[GreyAndGrayMorality morally ambiguous theme]] of the story. These factors contribute to the widely-held opinion that [[TrueArtIsAngsty Film Noir works are among the best artistic works of all time]] and contributed greatly to the maturity of cinema as an artform.
art form.
See FilmNoirIndex for a listing of live-actionfilms film noir. Examples from other media are listed below.
See FilmNoirIndex for a listing of live-action
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* AmoralAttorney
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* AmoralAttorneyAmoralAttorney[=/=]PersecutingProsecutor
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* TheChanteuse / GlamorousWartimeSinger
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* TheChanteuse / GlamorousWartimeSingerTheChanteuse[=/=]GlamorousWartimeSinger
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* ''Anime/Area51'' has a very pronounced chiaroscuro artstyle and a private detective protagonist in a wretched town. Despite those elements though, there's quite a bit of humor. And also lots of monsters, gods, and other fantastical creatures.
to:
* ''Anime/Area51'' has a very pronounced chiaroscuro artstyle art style and a private detective protagonist in a wretched town. Despite those elements though, there's quite a bit of humor. And also lots of monsters, gods, and other fantastical creatures.
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* ''Anime/{{Oddtaxi}}'' is a murder mystery where the taxi driving protagonist gets involved with corrupt cops, rival Yakuza members of the same gang, and the seedoer side of glamourous idols.
* ''Manga/TheWitchAndTheBeast'' is this in spades. Just ''look at it''. Even one of the main characters smoke and the atmosphere is perpetually dark and gloomy. May or may not bleed into Main/FantasticNoir.
* ''Manga/TheWitchAndTheBeast'' is this in spades. Just ''look at it''. Even one of the main characters smoke and the atmosphere is perpetually dark and gloomy. May or may not bleed into Main/FantasticNoir.
to:
* ''Anime/{{Oddtaxi}}'' is a murder mystery where the taxi driving taxi-driving protagonist gets involved with corrupt cops, rival Yakuza members of the same gang, and the seedoer seedier side of glamourous idols.
* ''Manga/TheWitchAndTheBeast'' is this in spades. Just ''look at it''. Even one of the main characterssmoke smokes and the atmosphere is perpetually dark and gloomy. May or may not bleed into Main/FantasticNoir.
* ''Manga/TheWitchAndTheBeast'' is this in spades. Just ''look at it''. Even one of the main characters
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* The ''ComicBook/MarvelNoir'' line. Changes to ComicBook/{{Wolverine}}, for example, include his [[WolverineClaws signature claws]] actually being handheld Japanese weapons. Naturally, there's a different version of Logan [[ComicBook/XMenNoir on the X-Men]]. In normal Marvel continuity, such street-level heroes as ComicBook/{{Daredevil}}, ComicBook/MoonKnight and ComicBook/{{the Punisher}} have all had runs or story arcs that followed many noir conventions.
to:
* The ''ComicBook/MarvelNoir'' line. Changes to ComicBook/{{Wolverine}}, for example, include his [[WolverineClaws signature claws]] actually being handheld Japanese weapons. Naturally, there's a different version of Logan [[ComicBook/XMenNoir on the X-Men]]. In normal Marvel continuity, such street-level heroes as ComicBook/{{Daredevil}}, ComicBook/MoonKnight ComicBook/MoonKnight, and ComicBook/{{the Punisher}} have all had runs or story arcs that followed many noir conventions.
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* ''ComicBook/TheNewTeenTitans'' arc "ComicBook/WhoIsDonnaTroy" has a serious noir overtones, especially the first few pages featuring [[ComicBook/{{Nightwing}} Dick]] in a dark office lit dramatically with light coming in through the blinds while looking at pictures and other evidence relating to the case he's taken for [[ComicBook/WonderGirl Donna]].
* ''ComicBook/XFactor2006'' features Jamie Madrox's attempt at a noir mutant detective agency . The prequel series, ''ComicBook/{{Madrox}}'', also has a plot with the standard tropes associated with the genre; A brilliant yet dysfunctional detective, a mysterious FemmeFatale, a rich man suspected of being a criminal and a grouchy reluctant ally. The tropes are also lampshaded by Jamie.
* ''ComicBook/XFactor2006'' features Jamie Madrox's attempt at a noir mutant detective agency . The prequel series, ''ComicBook/{{Madrox}}'', also has a plot with the standard tropes associated with the genre; A brilliant yet dysfunctional detective, a mysterious FemmeFatale, a rich man suspected of being a criminal and a grouchy reluctant ally. The tropes are also lampshaded by Jamie.
to:
* ''ComicBook/TheNewTeenTitans'' arc "ComicBook/WhoIsDonnaTroy" has a serious noir overtones, especially the first few pages featuring [[ComicBook/{{Nightwing}} Dick]] in a dark office lit dramatically with light coming in through the blinds while looking at pictures and other evidence relating to the case he's taken for [[ComicBook/WonderGirl Donna]].
* ''ComicBook/XFactor2006'' features Jamie Madrox's attempt at a noir mutant detectiveagency . agency. The prequel series, ''ComicBook/{{Madrox}}'', also has a plot with the standard tropes associated with the genre; A brilliant yet dysfunctional detective, a mysterious FemmeFatale, a rich man suspected of being a criminal criminal, and a grouchy reluctant ally. The tropes are also lampshaded by Jamie.
* ''ComicBook/XFactor2006'' features Jamie Madrox's attempt at a noir mutant detective
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* ''Comicbook/SpiderManNoir'' reimagines Comicbook/SpiderMan through a Film Noir lense, with Spidey shown as being [[DarkerAndEdgier more ruthless in his pursuit of villains]] (up to and including [[BatmanGrabsAGun using guns]]), and classic rogues' gallery members like Green Goblin and Doctor Octopus depicted as mob bosses and Nazis.
to:
* ''Comicbook/SpiderManNoir'' reimagines Comicbook/SpiderMan through a Film Noir lense, lens, with Spidey shown as being [[DarkerAndEdgier more ruthless in his pursuit of villains]] (up to and including [[BatmanGrabsAGun using guns]]), and classic rogues' gallery members like Green Goblin and Doctor Octopus depicted as mob bosses and Nazis.
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* ''Literature/ShamanBlues'' has a lot of shout-outs to the genre, including down-on-his-luck detective with problems and first-person narration, his beautiful, but clearly troubled ex and a case police can't be entrusted with. The hero even lampshades FemmeFatale in his head.
to:
* ''Literature/ShamanBlues'' has a lot of shout-outs to the genre, including a down-on-his-luck detective with problems and first-person narration, his beautiful, beautiful but clearly troubled ex ex, and a case police can't be entrusted with. The hero even lampshades FemmeFatale in his head.
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* ''Radio/OurMissBrooks'': The latter part of "Postage Due" is a very much film noir influenced, with Miss Brooks providing a PrivateEyeMonologue.
* ''Series/{{Dragnet}}'': Especially in its first run in the 40's and 50's.
* ''Series/{{Dragnet}}'': Especially in its first run in the 40's and 50's.
to:
* ''Radio/OurMissBrooks'': The latter part of "Postage Due" is a very much film noir influenced, noir-influenced, with Miss Brooks providing a PrivateEyeMonologue.
* ''Series/{{Dragnet}}'': Especially in its first run in the40's '40s and 50's.'50s.
* ''Series/{{Dragnet}}'': Especially in its first run in the
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* ''Series/JackTaylor'' is a dark, and at times humorous series about a hard drinking Irish Private Eye with a smart mouth.
* ''Series/JessicaJones2015'' The Netflix series plays heavily on noir themes; Jessica herself being a gender-swapped, alcoholic, emotionally-detached private detective.
* ''Series/TwinPeaks'' has a heavy noir element to it, with a murder leading to uncovering of the corruption and moral ambiguity of a seemingly idyllic town. Various noir tropes are given their due in the show, from the dark jazz motifs in the score to various character archetypes. This being a Creator/DavidLynch series, though, it's filled with nice helpings of surrealism, and it's just as much a SoapOpera with heavy doses of the supernatural.
* ''Series/VeronicaMars'' somehow effectively used this style in a San Diego high school setting. And gender swapped.
* ''Series/JessicaJones2015'' The Netflix series plays heavily on noir themes; Jessica herself being a gender-swapped, alcoholic, emotionally-detached private detective.
* ''Series/TwinPeaks'' has a heavy noir element to it, with a murder leading to uncovering of the corruption and moral ambiguity of a seemingly idyllic town. Various noir tropes are given their due in the show, from the dark jazz motifs in the score to various character archetypes. This being a Creator/DavidLynch series, though, it's filled with nice helpings of surrealism, and it's just as much a SoapOpera with heavy doses of the supernatural.
* ''Series/VeronicaMars'' somehow effectively used this style in a San Diego high school setting. And gender swapped.
to:
* ''Series/JackTaylor'' is a dark, and at times humorous series about a hard drinking hard-drinking Irish Private Eye with a smart mouth.
* ''Series/JessicaJones2015'' The Netflix series plays heavily on noir themes; Jessica herself being a gender-swapped, alcoholic,emotionally-detached emotionally detached private detective.
* ''Series/TwinPeaks'' has a heavy noir element to it, with a murder leading to the uncovering of the corruption and moral ambiguity of a seemingly idyllic town. Various noir tropes are given their due in the show, from the dark jazz motifs in the score to various character archetypes. This being a Creator/DavidLynch series, though, it's filled with nice helpings of surrealism, and it's just as much a SoapOpera with heavy doses of the supernatural.
* ''Series/VeronicaMars'' somehow effectively used this style in a San Diego high school setting. Andgender swapped.gender-swapped.
* ''Series/JessicaJones2015'' The Netflix series plays heavily on noir themes; Jessica herself being a gender-swapped, alcoholic,
* ''Series/TwinPeaks'' has a heavy noir element to it, with a murder leading to the uncovering of the corruption and moral ambiguity of a seemingly idyllic town. Various noir tropes are given their due in the show, from the dark jazz motifs in the score to various character archetypes. This being a Creator/DavidLynch series, though, it's filled with nice helpings of surrealism, and it's just as much a SoapOpera with heavy doses of the supernatural.
* ''Series/VeronicaMars'' somehow effectively used this style in a San Diego high school setting. And
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* ''Series/{{Smallville}}'' had a Jimmy centric episode set in a noir dream sequence.
to:
* ''Series/{{Smallville}}'' had a Jimmy centric Jimmy-centric episode set in a noir dream sequence.
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* ''Series/{{Angel}}'' was heavily influenced by Film Noir, mostly up to about halfway through the third season, but it retained certain Film Noir traits until the very end, such as the moral abiguity. [[spoiler: The final scene of the show is in the classic Film Noir setting of rainy alleyway]].
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* ''Series/{{Angel}}'' was heavily influenced by Film Noir, mostly up to about halfway through the third season, but it retained certain Film Noir traits until the very end, such as the moral abiguity. ambiguity. [[spoiler: The final scene of the show is in the classic Film Noir setting of a rainy alleyway]].
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* ''Series/IAmTheNight'' is a homage to Los Angeles set neo noir classics like ''Film/{{Chinatown}}'' and ''Film/LAConfidential''.
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* ''Series/IAmTheNight'' is a homage to Los Angeles set neo noir neo-noir classics like ''Film/{{Chinatown}}'' and ''Film/LAConfidential''.
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* The song and video for "Music/BillieJean" by Music/MichaelJackson is thematically and the stylistically in this genre. The song is about a man being wrongfully accused (according to him at least) of sleeping with a woman and getting her pregnant, a woman who he implies schemed this whole thing up to trap him. The video features a CityNoir, a DeliberatelyMonochrome section, and a paparazzo who is dressed like a PrivateDetective from 1950s movies in the genre.
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* The song and video for "Music/BillieJean" by Music/MichaelJackson is thematically and the stylistically in this genre. The song is about a man being wrongfully accused (according to him at least) of sleeping with a woman and getting her pregnant, a woman who he implies schemed this whole thing up to trap him. The video features a CityNoir, a DeliberatelyMonochrome section, and a paparazzo who is dressed like a PrivateDetective from 1950s movies in the genre.
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** In the third episode of ''VideoGame/SamAndMaxTheDevilsPlayhouse'', Max gets his brain stolen, causing Sam to go on an '[[HeroicBSOD noirish rampage]]' that turns the game into a Film Noir spoof for a while, even down to the lighting and the camera angles. Highlights include Sam demonstrating his edgy true-to-life violence by [[JackBauerInterrogationTechnique slapping people in the face mid sentence]] and having a 'Noir' option during conversations which causes him to [[{{Wangst}} give a largely incoherent metaphorical description about how amoral and miserable he is]].
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** In the third episode of ''VideoGame/SamAndMaxTheDevilsPlayhouse'', Max gets his brain stolen, causing Sam to go on an '[[HeroicBSOD noirish rampage]]' that turns the game into a Film Noir spoof for a while, even down to the lighting and the camera angles. Highlights include Sam demonstrating his edgy true-to-life violence by [[JackBauerInterrogationTechnique slapping people in the face mid sentence]] mid-sentence]] and having a 'Noir' option during conversations which causes him to [[{{Wangst}} give a largely incoherent metaphorical description about how amoral and miserable he is]].
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** Godot counts as well, from his [[https://www.youtube.com/watch?v=D6KRIMASing slow, sweet, jazzy]] {{leitmotif}} even in it's [[https://www.youtube.com/watch?v=9ZxLlirprF0 in-game sound]], to his [[IceCreamKoan coffeenese]] and coffee-oriented metaphors, tragic and mysterious backstory, and his style of dress which looks like a HardBoiledDetective without his trenchcoat. His "worried" animation on first glance makes it look like he's smoking, though the "cigarette" is actually his ring and the smoke is off his mask.
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** Godot counts as well, from his [[https://www.youtube.com/watch?v=D6KRIMASing slow, sweet, jazzy]] {{leitmotif}} even in it's [[https://www.youtube.com/watch?v=9ZxLlirprF0 in-game sound]], to his [[IceCreamKoan coffeenese]] and coffee-oriented metaphors, tragic and mysterious backstory, and his style of dress which looks like a HardBoiledDetective without his trenchcoat. His "worried" animation on at first glance makes it look like he's smoking, though the "cigarette" is actually his ring and the smoke is off his mask.
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* One of the scenarios in the Artificial Reality machine in Series/RedDwarf is a film noir setting, complete with monochrome, a FemmeFatale, UsefulNotes/AlCapone-style outfits and a car from the 30s.
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* One of the scenarios in the Artificial Reality machine in Series/RedDwarf is a film noir setting, complete with monochrome, a FemmeFatale, UsefulNotes/AlCapone-style outfits outfits, and a car from the 30s.'30s.
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* ''VideoGame/GrandTheftAutoIII'' (2001). With its pessimistic atmosphere, dark tone, moral ambiguity and muted colors, the game has many elements of this trope.
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* ''VideoGame/GrandTheftAutoIII'' (2001). With its pessimistic atmosphere, dark tone, moral ambiguity ambiguity, and muted colors, the game has many elements of this trope.
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* ''The Black Dahlia'' (1998) - correct setting, period clothes and corny dialogue to boot.
* ''VideoGame/DiscworldNoir'' (1999) - ExactlyWhatItSaysOnTheTin. Its sequel even used the tagline "A Film Noir Love Story", which is somewhat ironic, given that the protagonist is much less cynical and jaded in than in the original.
* ''VideoGame/DiscworldNoir'' (1999) - ExactlyWhatItSaysOnTheTin. Its sequel even used the tagline "A Film Noir Love Story", which is somewhat ironic, given that the protagonist is much less cynical and jaded in than in the original.
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* ''The Black Dahlia'' (1998) - correct setting, period clothes clothes, and corny dialogue to boot.
* ''VideoGame/DiscworldNoir'' (1999) - ExactlyWhatItSaysOnTheTin. Its sequel even used the tagline "A Film Noir Love Story", which is somewhat ironic, given that the protagonist is much less cynical and jadedin than in the original.
* ''VideoGame/DiscworldNoir'' (1999) - ExactlyWhatItSaysOnTheTin. Its sequel even used the tagline "A Film Noir Love Story", which is somewhat ironic, given that the protagonist is much less cynical and jaded
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* ''VideoGame/NickBounty'' A series of adventure games featuring the titular wanna be hardboiled detective.
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* ''VideoGame/NickBounty'' A series of adventure games featuring the titular wanna be wanna-be hardboiled detective.
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* ''VideoGame/HeavyRain'' (2010). Shelby's character is a homage to Noir while Jayden is homage to its more modern counterparts.
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* ''VideoGame/HeavyRain'' (2010). Shelby's character is a homage to Noir while Jayden is a homage to its more modern counterparts.
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** ''VideoGame/EmeraldCityConfidential'' was described by the producer as follows: "Harsh city streets, grey rainy skies, femmes fatales, tough guys, trenchcoats, fedoras and plot twists. It's [[Film/TheWizardOfOz Oz]], seen through the eyes of Raymond Chandler."
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** ''VideoGame/EmeraldCityConfidential'' was described by the producer as follows: "Harsh city streets, grey rainy skies, femmes fatales, tough guys, trenchcoats, fedoras fedoras, and plot twists. It's [[Film/TheWizardOfOz Oz]], seen through the eyes of Raymond Chandler."
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* ''VideoGame/KillerIsDead'', as well as ''VideoGame/Killer7'', from Creator/Suda51, features some heavy surreal film noir looks, down to [[BadassInANiceSuit badass assassins in suits]], heavy shading and shadows, hypnotic soundtracks and weird characters. They're much more ScienceFiction that film noir, though the influence is clearly there.
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* ''VideoGame/KillerIsDead'', as well as ''VideoGame/Killer7'', from Creator/Suda51, features some heavy surreal film noir looks, down to [[BadassInANiceSuit badass assassins in suits]], heavy shading and shadows, hypnotic soundtracks and weird characters. They're much more ScienceFiction that than film noir, though the influence is clearly there.
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** By virtue of evoking late '80s sci-fi movies, ''VideoGame/MassEffect2'' evokes this in parts, especially on Omega, Ilium and the Citadel. Thane and Samara's loyalty missions are even investigations with much less action than the rest of the game (oddly enough, both characters are stoic badasses with philosophical sides).
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** By virtue of evoking late '80s sci-fi movies, ''VideoGame/MassEffect2'' evokes this in parts, especially on Omega, Ilium Ilium, and the Citadel. Thane and Samara's loyalty missions are even investigations with much less action than the rest of the game (oddly enough, both characters are stoic badasses with philosophical sides).
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* ''VideoGame/{{Gunpoint}}'' plays many of the tropes of Film Noir fairly straight despite it's more humorous atmosphere and incredibly snarky protagonist.
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* ''VideoGame/{{Gunpoint}}'' plays many of the tropes of Film Noir fairly straight despite it's its more humorous atmosphere and incredibly snarky protagonist.
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* ''VideoGame/LastCaseTheDisappearanceOfAmandaKane'' is a mostly black and white crime drama about a private investigator trying to look for a mission person. The protagonist drinks, has recently lost his partner, and the game has smooth, somewhat somber accompanying the setting (which seems to take place in the mid to late nineties).
* ''VideoGame/DiscoElysium'' is an UrbanFantasy Noir with a 1970s aesthetic and can perhaps best be described as ''VideoGame/PlanescapeTorment'' meets ''Literature/FearAndLoathingInLasVegas''. It is also somewhat of a GenreDeconstruction, turning a critical eye to some of the stable tropes of the genre such as the DefectiveDetective, the FemmeFatale, and the AssholeVictim and taking them apart.
* ''VideoGame/BlacksadUnderTheSkin'', based off the ''ComicBook/{{Blacksad}}'' comics, is equally as noir as its source material. Its furry HardboiledDetective investigates (and narrates) over a supposed suicide and is exposed to crime, corruption, infidelities, conspiracies, and so on.
* ''VideoGame/DiscoElysium'' is an UrbanFantasy Noir with a 1970s aesthetic and can perhaps best be described as ''VideoGame/PlanescapeTorment'' meets ''Literature/FearAndLoathingInLasVegas''. It is also somewhat of a GenreDeconstruction, turning a critical eye to some of the stable tropes of the genre such as the DefectiveDetective, the FemmeFatale, and the AssholeVictim and taking them apart.
* ''VideoGame/BlacksadUnderTheSkin'', based off the ''ComicBook/{{Blacksad}}'' comics, is equally as noir as its source material. Its furry HardboiledDetective investigates (and narrates) over a supposed suicide and is exposed to crime, corruption, infidelities, conspiracies, and so on.
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* ''VideoGame/LastCaseTheDisappearanceOfAmandaKane'' is a mostly black and white black-and-white crime drama about a private investigator trying to look for a mission person. The protagonist drinks, has recently lost his partner, and the game has a smooth, somewhat somber accompanying accompaniment to the setting (which seems to take place in the mid to late nineties).
* ''VideoGame/DiscoElysium'' is an UrbanFantasy Noir with a 1970s aesthetic and can perhaps best be described as ''VideoGame/PlanescapeTorment'' meets ''Literature/FearAndLoathingInLasVegas''. It is also somewhat of a GenreDeconstruction, turning a critical eye to some of thestable staple tropes of the genre such as the DefectiveDetective, the FemmeFatale, and the AssholeVictim AssholeVictim, and taking them apart.
* ''VideoGame/BlacksadUnderTheSkin'', basedoff on the ''ComicBook/{{Blacksad}}'' comics, is equally as noir as its source material. Its furry HardboiledDetective investigates (and narrates) over a supposed suicide and is exposed to crime, corruption, infidelities, conspiracies, and so on.
* ''VideoGame/DiscoElysium'' is an UrbanFantasy Noir with a 1970s aesthetic and can perhaps best be described as ''VideoGame/PlanescapeTorment'' meets ''Literature/FearAndLoathingInLasVegas''. It is also somewhat of a GenreDeconstruction, turning a critical eye to some of the
* ''VideoGame/BlacksadUnderTheSkin'', based
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* ''VideoGame/ShadowsOfDoubt'' may technically take place in an AlternateHistory {{Cyberpunk}} {{dystopia}}, but its aesthetic is heavily inspired by film noir, including the player character being a private detective investigating murders and doing odd (sometims questionable) jobs for people with credits to burn. The sparse instances of in-game music even mixes the mournful notations of blues music with synthwave-y instruments.
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* ''VideoGame/ShadowsOfDoubt'' may technically take place in an AlternateHistory {{Cyberpunk}} {{dystopia}}, but its aesthetic is heavily inspired by film noir, including the player character being a private detective investigating murders and doing odd (sometims (sometimes questionable) jobs for people with credits to burn. The sparse instances of in-game music even mixes the mournful notations of blues music with synthwave-y instruments.
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* ''Webcomic/BloodAndSmokePaulMitzkowski'' is a black and white comic set in a hellhole of a city, starring a cynical, chain-smoking, fedora and trench-coat wearing police detective that chases a serial killer with a cool sounding name.
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* ''Webcomic/BloodAndSmokePaulMitzkowski'' is a black and white comic set in a hellhole of a city, starring a cynical, chain-smoking, fedora and trench-coat wearing trenchcoat-wearing police detective that chases a serial killer with a cool sounding cool-sounding name.
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* ''Webcomic/{{Daniel}}'' is a vampire horror comic set in the 1930s. It's setting and grayscale color scheme give it a feel very akin to film noir.
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* ''Webcomic/{{Daniel}}'' is a vampire horror comic set in the 1930s. It's Its setting and grayscale color scheme give it a feel very akin to film noir.
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* Perri Rhoades' web serial ''Literature/{{Spectral Shadows}}'' has a peculiar planet, Cygnus, that's populated by lots of half-human half animal creatures, with each town having an JustForFun/{{Intellectual Property Religion}} (literally -- even if sometimes the religion doesn't correctly match the source material). The town of Noire tries its best to fit this trope, even going so far as to use fossil fuels for vehicles while the rest of the world uses solar power -- because in the gangster movies, they didn't have solar power.
* ''Blog/TheUnitedFederationOfCharles'' had a [[http://unitedfederationofcharles.blogspot.com/2012/06/what-is-noir.html discussion of Noir and its role in fiction]]. It argues that the genre never died and is continuing on today.
* ''Blog/TheUnitedFederationOfCharles'' had a [[http://unitedfederationofcharles.blogspot.com/2012/06/what-is-noir.html discussion of Noir and its role in fiction]]. It argues that the genre never died and is continuing on today.
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* Perri Rhoades' web serial ''Literature/{{Spectral Shadows}}'' has a peculiar planet, Cygnus, that's populated by lots of half-human half animal half-animal creatures, with each town having an JustForFun/{{Intellectual Property Religion}} (literally -- even if sometimes the religion doesn't correctly match the source material). The town of Noire tries its best to fit this trope, even going so far as to use fossil fuels for vehicles while the rest of the world uses solar power -- because in the gangster movies, they didn't have solar power.
* ''Blog/TheUnitedFederationOfCharles'' had a [[http://unitedfederationofcharles.blogspot.com/2012/06/what-is-noir.html discussion of Noir and its role in fiction]]. It argues that the genre never died and is continuingon today.
* ''Blog/TheUnitedFederationOfCharles'' had a [[http://unitedfederationofcharles.blogspot.com/2012/06/what-is-noir.html discussion of Noir and its role in fiction]]. It argues that the genre never died and is continuing
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* ''WesternAnimation/TheRomanceOfBettyBoop'' has elements of noir, set in New York City during TheThirties and using muted backgrounds of black & gray.
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* ''WesternAnimation/TheRomanceOfBettyBoop'' has elements of noir, set in New York City during TheThirties TheThirties, and using uses muted backgrounds of black & gray.
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* The ''Easy Rawlins'' series, which centers on an African-American WWII veteran turned unlicensed Los Angeles detective, and examines racism in America, and the many injustices caused by it. The first book was adapted into [[Film/DevilInABlueDress a 1995 film]] starring Creator/DenzelWashington, and like its source material pays homage to the themes and style of noir stories.
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* The ''Easy Rawlins'' series, which centers on an African-American WWII veteran turned unlicensed Los Angeles detective, and examines racism in America, and the many injustices caused by it. The first book was adapted into [[Film/DevilInABlueDress a 1995 film]] starring Creator/DenzelWashington, and like its source material pays homage to the themes and style of noir stories.
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* The ''Easy Rawlins'' series, which centers on an African-American WWII veteran turned unlicensed Los Angeles detective, and examines racism in America, and the many injustices caused by it. The first book was adapted into [[Film/DevilInABlueDress a 1995 film]] starring Creator/DenzelWashington, and like its source material pays homage to the themes and style of noir stories, albeit in a more subdued fashion.
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* The ''Easy Rawlins'' series, which centers on an African-American WWII veteran turned unlicensed Los Angeles detective, and examines racism in America, and the many injustices caused by it. The first book was adapted into [[Film/DevilInABlueDress a 1995 film]] starring Creator/DenzelWashington, and like its source material pays homage to the themes and style of noir stories, albeit in a more subdued fashion.stories.
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* The ''Easy Rawlins'' series, which centers on an African-American WWII veteran turned unlicensed Los Angeles detective, and examines racism in America, and the many injustices caused by it. The first book was adapted into [[FilmDevilInABlueDress a 1995 film]] starring Creator/DenzelWashington, and loke its source material pays homage to the themes and style of noir stories.
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* The ''Easy Rawlins'' series, which centers on an African-American WWII veteran turned unlicensed Los Angeles detective, and examines racism in America, and the many injustices caused by it. The first book was adapted into [[FilmDevilInABlueDress [[Film/DevilInABlueDress a 1995 film]] starring Creator/DenzelWashington, and loke like its source material pays homage to the themes and style of noir stories.stories, albeit in a more subdued fashion.
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* The ''Easy Rawlins'' series, which centers on an African-American WWII veteran turned unlicensed Los Angeles detective, and examines racism in America, and the many injustices caused by it. The first book was adapted into [[FilmDevilInABlueDress a 1995 film]] starring Creator/DenzelWashington, and loke its source material pays homage to the themes and style of noir stories.
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* The ''Series/{{Castle}}'' season 4 episode "The Blue Butterfly" has Castle find the diary of a private eye from 1948, which results in a number of Film Noir-style flashbacks with the regulars taking on various roles in the story - Castle as the detective, Beckett as a nightclub singer, Esposito and Ryan as gangsters and Alexis (!) as a FemmeFatale. We also get Castle doing the monologue and at one point [[FreudianSlip inadvertently swapping the name of the singer for Kate]]... which results in a RecordNeedleScratch drop out of flashback as Beckett looks at him funny.
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* The ''Series/{{Castle}}'' ''Series/{{Castle|2009}}'' season 4 episode "The Blue Butterfly" has Castle find the diary of a private eye from 1948, which results in a number of Film Noir-style flashbacks with the regulars taking on various roles in the story - Castle as the detective, Beckett as a nightclub singer, Esposito and Ryan as gangsters and Alexis (!) as a FemmeFatale. We also get Castle doing the monologue and at one point [[FreudianSlip inadvertently swapping the name of the singer for Kate]]... which results in a RecordNeedleScratch drop out of flashback as Beckett looks at him funny.
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* The ''VideoGame/BioShock'' series constantly [[PlayingWithATrope plays with]] elements of the genre. A dark-yet-stylized and moody atmosphere (not to mention a setting where you aren't quite sure who to trust -- or who the real "bad guy" is) permeates the [[VideoGame/BioShock1 first]] [[VideoGame/BioShock2 two]], and [[VideoGame/BioShockInfinite the third]] has you play a private detective. Bonus points for the first ''BioShockInfinite/BurialAtSea'' DLC being a straight-up NoirEpisode.
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* The ''VideoGame/BioShock'' series constantly [[PlayingWithATrope plays with]] elements of the genre. A dark-yet-stylized and moody atmosphere (not to mention a setting where you aren't quite sure who to trust -- or who the real "bad guy" is) permeates the [[VideoGame/BioShock1 first]] [[VideoGame/BioShock2 two]], and [[VideoGame/BioShockInfinite the third]] has you play a private detective. Bonus points for the first ''BioShockInfinite/BurialAtSea'' ''VideoGame/BioShockInfiniteBurialAtSea'' DLC being a straight-up NoirEpisode.
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* ''Fanfic/SeVisPacemParaBellum'' takes place in the world of ''Franchise/JohnWick'', but it features only characters from ''Literature/TheLordOfTheRings''[=/=]''Series/TheLordOfTheRingsTheRingsOfPower''.
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Updating Link
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* Parodied in the 1993 ''WesternAnimation/PinkPanther'' series ("Black and White and Pink All Over").
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* ''WesternAnimation/ThePinkPanther'': Parodied in the 1993 ''WesternAnimation/PinkPanther'' series ("Black and White and Pink All Over").
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For added effect, play one [[https://www.youtube.com/watch?v=GoYAGNLqFwg of]] [[https://www.youtube.com/watch?v=sCQfTNOC5aE these]] [[https://www.youtube.com/watch?v=7bW75OwVXZI songs]] while reading the article.
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* ''VideoGame/ShadowsOfDoubt'' may technically take place in an AlternateHistory {{Cyberpunk}} {{dystopia}}, but its aesthetic is heavily inspired by film noir, including the player character being a private detective investigating murders and doing odd (sometims questionable) jobs for people with credits to burn. The sparse instances of in-game music even mixes the mournful notations of blues music with synthwave-y instruments.
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LA link is repeated
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For added effect, play [[https://www.youtube.com/watch?v=7bW75OwVXZI one]] [[https://www.youtube.com/watch?v=GoYAGNLqFwg of]] [[https://www.youtube.com/watch?v=sCQfTNOC5aE these]] [[https://www.youtube.com/watch?v=7bW75OwVXZI songs]] while reading the article.
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For added effect, play one [[https://www.youtube.com/watch?v=7bW75OwVXZI one]] [[https://www.youtube.com/watch?v=GoYAGNLqFwg of]] [[https://www.youtube.com/watch?v=sCQfTNOC5aE these]] [[https://www.youtube.com/watch?v=7bW75OwVXZI songs]] while reading the article.
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* The ''ComicBook/AstroCity'' story arc "The Tarnished Angel" and its sequel, "Things Past", are noir stories about broken, cynical people trying to get by in a heartless world.
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* Creator/LairdBarron's ''Isaiah Coleridge'' series follows the titular character, a retired mob enforcer turned hardboiled private detective, as he investigates various cases. The third novel in the series, ''Worse Angels'', has a bit of a curveball, as it reveals that the series actually takes place in the same universe as Barron's previous {{Cosmic Horror Stor|y}}ies.
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* Creator/LairdBarron's ''Isaiah Coleridge'' series follows the titular character, a retired mob enforcer turned hardboiled private detective, as he investigates various cases.cases around upstate New York's Hudson Valley, which often turn out to be connected to various mafia and government conspiracies. The third novel in the series, ''Worse Angels'', has a bit of a curveball, as it reveals that the series actually takes place in the same universe as Barron's previous {{Cosmic Horror Stor|y}}ies.
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* ''Radio/APrairieHomeCompanion'' has the recurring "Guy Noir: Private Eye" segment.
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* Creator/LairdBarron's ''Isaiah Coleridge'' series follows the titular character, a retired mob enforcer turned hardboiled private detective, as he investigates various cases. The third novel in the series, ''Worse Angels'', has a bit of a curveball, as it reveals that the series takes actually takes place in the same universe as Barron's previous {{Cosmic Horror Stor|y}}ies.
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* Creator/LairdBarron's ''Isaiah Coleridge'' series follows the titular character, a retired mob enforcer turned hardboiled private detective, as he investigates various cases. The third novel in the series, ''Worse Angels'', has a bit of a curveball, as it reveals that the series takes actually takes place in the same universe as Barron's previous {{Cosmic Horror Stor|y}}ies.
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* Dave Callahan of Music/{{Moonshake}} ''loved'' film noir and, when the band split in half and he was given full reign of it, he infused the band's already moody sound and UrbanHellscape imagery with more prominent jazz elements in an attempt to replicate the genre's aesthetics.
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* ''Literature/TheLongShalom'' is a supernatural noir story about a down-on-his-luck detective in New York investigating disappearances, leading to the discovery of a conspiracy.
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For added effect, play [[https://www.youtube.com/watch?v=nCGeG1tHQuY one]] [[https://www.youtube.com/watch?v=GoYAGNLqFwg of]] [[https://www.youtube.com/watch?v=sCQfTNOC5aE these]] [[https://www.youtube.com/watch?v=7bW75OwVXZI songs]] while reading the article.
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For added effect, play [[https://www.youtube.com/watch?v=nCGeG1tHQuY com/watch?v=7bW75OwVXZI one]] [[https://www.youtube.com/watch?v=GoYAGNLqFwg of]] [[https://www.youtube.com/watch?v=sCQfTNOC5aE these]] [[https://www.youtube.com/watch?v=7bW75OwVXZI songs]] while reading the article.
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* Creator/LairdBarron's ''Isaiah Coleridge'' series follows the titular character, a retired mob enforcer turned hardboiled private detective, as he investigates various cases. The third novel in the series, ''Worse Angels'', has a bit of a curveball, as it reveals that the series takes actually takes place in the same universe as Barron's previous {{Cosmic Horror Stor|y}}ies.
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* ''ComicBook/TheGoodAsian'' follows Chinese-American detective Edison Hark as he navigates San Francisco's Chinatown in the 1930s and tries to find a missing girl. He soon finds himself stuck in the middle of a powder keg, caught between brutal/racist cops, the agendas of various powerful and wealthy people, a deranged blackmailer, and a ruthless killer out for revenge. To make matters worse, the well-being of everyone in Chinatown hinges on what happens, as any excuse will be used to crack down on residents and curtail their quest for greater civil rights.
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* ''LightNovel/{{Baccano}}'' and ''LightNovel/{{Durarara}}'', which are written by the same author, both have definite noir elements, the former focusing on mafia members and the latter focusing on gang members, with plenty of private-eye monologues from [[EnsembleCast multiple characters]].
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* ''LightNovel/{{Baccano}}'' ''Literature/{{Baccano}}'' and ''LightNovel/{{Durarara}}'', ''Literature/{{Durarara}}'', which are written by the same author, both have definite noir elements, the former focusing on mafia members and the latter focusing on gang members, with plenty of private-eye monologues from [[EnsembleCast multiple characters]].
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Noir can also be seen as a successor to the GothicHorror novels of the 19th Century, moved from the decrepit castles of Romanticism and into the city streets of Modernism, and most forms of "new Gothic" - such as SouthernGothic, Southern Ontario Gothic, and especially SuburbanGothic - will have a heavy dose of noir influence. Both traditions typically revolve around around some sort of [[AwfulTruth terrible secret]] coming to light, a general air of unease and paranoia, a feeling of alienation from one's surroundings, and a middle-class distrust of the rich, although noir typically trades in the [[AristocratsAreEvil evil aristocracy]] for [[CorruptCorporateExecutive businessmen]] and {{corrupt politician}}s. Noir is also usually more masculine than the female-driven Gothics and more likely to have a male protagonist, although both forms typically rely heavily on sweltering sexual tension - just as the Gothic [[TheIngenue ingenue]] was tempted by the ByronicHero, the noir hero finds himself caught up in the wiles of the FemmeFatale. Like the Gothic HauntedHeroine, the noir hero may be haunted by his own inner demons (though usually of a less supernatural kind), but the closest he can come to her IncorruptiblePurePureness is being a KnightInSourArmor. If, when it comes down to it, he does the right thing even when he knows it will cost him greatly (and he might not), the universe will not reward him for his inner nobility - in contrast to the Gothic, which, despite its darkness, is at heart a fairly idealistic tradition where good perseveres and [[HolyBurnsEvil crosses repel vampires]]. There are no such guarantees in noir. Being a DoomedMoralVictor will have to be enough for the noir hero; as Creator/RobertMitchum says in ''Film/OutOfThePast'', "Build my gallows high."
The standard Noir landscape is [[CityNoir a large, oppressive city (filmed in dark and dusky conditions to create a moody atmosphere)]]. Familiar haunts include cheap hotels, dimly-lit bars, [[BadGuyBar nightclubs filled with questionable clientele]] (including the {{Gayngster}}) whom the lead may intimidate for information, gambling dens, juke joints and the ubiquitous seedy [[AbandonedWarehouse waterfront warehouse]] filled with [[CrateExpectations crates]] that FellOffTheBackOfATruck. At night in the big city, you can bet the streets are slick with rain, reflecting streetlights like a Hopper painting. [[HumansAreBastards Most of the characters (including the lead) are cynical, misanthropical and hopeless]] all the way through the film, and never find [[RedemptionQuest true redemption]].
The standard Noir landscape is [[CityNoir a large, oppressive city (filmed in dark and dusky conditions to create a moody atmosphere)]]. Familiar haunts include cheap hotels, dimly-lit bars, [[BadGuyBar nightclubs filled with questionable clientele]] (including the {{Gayngster}}) whom the lead may intimidate for information, gambling dens, juke joints and the ubiquitous seedy [[AbandonedWarehouse waterfront warehouse]] filled with [[CrateExpectations crates]] that FellOffTheBackOfATruck. At night in the big city, you can bet the streets are slick with rain, reflecting streetlights like a Hopper painting. [[HumansAreBastards Most of the characters (including the lead) are cynical, misanthropical and hopeless]] all the way through the film, and never find [[RedemptionQuest true redemption]].
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Noir can also be seen as a successor to the GothicHorror novels of the 19th Century, moved from the decrepit castles of Romanticism and into the city streets of Modernism, and most forms of "new Gothic" - such as SouthernGothic, Southern Ontario Gothic, and especially SuburbanGothic - will have a heavy dose of noir influence. Both traditions typically revolve around around some sort of [[AwfulTruth terrible secret]] coming to light, a general air of unease and paranoia, a feeling of alienation from one's surroundings, and a middle-class distrust of the rich, although noir typically trades in the [[AristocratsAreEvil evil aristocracy]] for [[CorruptCorporateExecutive businessmen]] and {{corrupt politician}}s. Noir is also usually more masculine than the female-driven Gothics and more likely to have a male protagonist, although both forms typically rely heavily on sweltering sexual tension - just as the Gothic [[TheIngenue ingenue]] was tempted by the ByronicHero, the noir hero finds himself caught up in the wiles of the FemmeFatale. Like the Gothic HauntedHeroine, the noir hero may be haunted by his own inner demons (though usually of a less supernatural kind), but the closest he can come to her IncorruptiblePurePureness is being a KnightInSourArmor. If, when it comes down to it, he does the right thing even when he knows it will cost him greatly (and he might not), the universe will not reward him for his inner nobility - in contrast to the Gothic, which, despite its darkness, is at heart a fairly idealistic tradition where good perseveres and [[HolyBurnsEvil crosses repel vampires]]. There are no such guarantees in noir. Being a DoomedMoralVictor will have to be enough for the noir hero; as Creator/RobertMitchum says in ''Film/OutOfThePast'', "Build my gallows high."
" Just as solving the mystery is an act of imposing order on chaos, so too is choosing [[TheAntiNihilist to follow a moral code in an amoral world]].
The standard Noir landscape is [[CityNoir a large, oppressive city (filmed in dark and dusky conditions to create a moody atmosphere)]]. Familiar haunts include cheap hotels, dimly-lit bars, [[BadGuyBar nightclubs filled with questionable clientele]] (including the {{Gayngster}}) whom the lead may intimidate for information, gambling dens, juke joints and the ubiquitous seedy [[AbandonedWarehouse waterfront warehouse]] filled with [[CrateExpectations crates]] that FellOffTheBackOfATruck. At night in the big city, you can bet the streets are slick with rain, reflecting streetlights like a Hopper painting. [[HumansAreBastards Most of the characters (including the lead) are cynical, misanthropical and hopeless]] all the way through the film, andnever maynever find [[RedemptionQuest true redemption]].redemption]] - and if they do, [[RedemptionEqualsDeath it won't come cheap]].
The standard Noir landscape is [[CityNoir a large, oppressive city (filmed in dark and dusky conditions to create a moody atmosphere)]]. Familiar haunts include cheap hotels, dimly-lit bars, [[BadGuyBar nightclubs filled with questionable clientele]] (including the {{Gayngster}}) whom the lead may intimidate for information, gambling dens, juke joints and the ubiquitous seedy [[AbandonedWarehouse waterfront warehouse]] filled with [[CrateExpectations crates]] that FellOffTheBackOfATruck. At night in the big city, you can bet the streets are slick with rain, reflecting streetlights like a Hopper painting. [[HumansAreBastards Most of the characters (including the lead) are cynical, misanthropical and hopeless]] all the way through the film, and
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Noir can also be seen as a successor to the GothicHorror novels of the 19th Century, moved from the decrepit castles of Romanticism and into the city streets of Modernism. Both forms typically revolve around around some sort of [[AwfulTruth terrible secret]] coming to light, a general air of unease and paranoia, a feeling of alienation from one's surroundings, and a middle-class distrust of the rich, although noir typically trades in the [[AristocratsAreEvil evil aristocracy]] for [[CorruptCorporateExecutive businessmen]] and {{corrupt politician}}s. Noir is also usually more masculine than the female-driven Gothics and more likely to have a male protagonist, although both forms typically rely heavily on sweltering sexual tension - just as the Gothic [[TheIngenue ingenue]] was tempted by the ByronicHero, the noir hero finds himself caught up in the wiles of the FemmeFatale. Like the Gothic HauntedHeroine, the noir hero may be haunted by his own inner demons (though usually of a less supernatural kind), but the closest he can come to her IncorruptiblePurePureness is being a KnightInSourArmor. If, when it comes down to it, he does the right thing even when he knows it will cost him greatly (and he might not), the universe will not reward him for his inner nobility - in contrast to the Gothic, which, despite its darkness, is at heart a fairly idealistic tradition where good perseveres and [[HolyBurnsEvil crosses repel vampires]]. There are no such guarantees in noir. Being a DoomedMoralVictor will have to be enough for the noir hero; as Creator/RobertMitchum says in ''Film/OutOfThePast'', "Build my gallows high."
The standard Noir landscape is [[CityNoir a large, oppressive city (filmed in dark and dusky conditions to create a moody atmosphere)]]. Familiar haunts include cheap hotels, dimly-lit bars, [[DenOfIniquity nightclubs filled with questionable clientele]] (including the {{Gayngster}}) whom the lead may intimidate for information, gambling dens, juke joints and the ubiquitous seedy [[AbandonedWarehouse waterfront warehouse]] filled with [[CrateExpectations crates]] that FellOffTheBackOfATruck. At night in the big city, you can bet the streets are slick with rain, reflecting streetlights like a Hopper painting. [[HumansAreBastards Most of the characters (including the lead) are cynical, misanthropical and hopeless]] all the way through the film, and never find [[RedemptionQuest true redemption]].
The standard Noir landscape is [[CityNoir a large, oppressive city (filmed in dark and dusky conditions to create a moody atmosphere)]]. Familiar haunts include cheap hotels, dimly-lit bars, [[DenOfIniquity nightclubs filled with questionable clientele]] (including the {{Gayngster}}) whom the lead may intimidate for information, gambling dens, juke joints and the ubiquitous seedy [[AbandonedWarehouse waterfront warehouse]] filled with [[CrateExpectations crates]] that FellOffTheBackOfATruck. At night in the big city, you can bet the streets are slick with rain, reflecting streetlights like a Hopper painting. [[HumansAreBastards Most of the characters (including the lead) are cynical, misanthropical and hopeless]] all the way through the film, and never find [[RedemptionQuest true redemption]].
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Noir can also be seen as a successor to the GothicHorror novels of the 19th Century, moved from the decrepit castles of Romanticism and into the city streets of Modernism. Both Modernism, and most forms of "new Gothic" - such as SouthernGothic, Southern Ontario Gothic, and especially SuburbanGothic - will have a heavy dose of noir influence. Both traditions typically revolve around around some sort of [[AwfulTruth terrible secret]] coming to light, a general air of unease and paranoia, a feeling of alienation from one's surroundings, and a middle-class distrust of the rich, although noir typically trades in the [[AristocratsAreEvil evil aristocracy]] for [[CorruptCorporateExecutive businessmen]] and {{corrupt politician}}s. Noir is also usually more masculine than the female-driven Gothics and more likely to have a male protagonist, although both forms typically rely heavily on sweltering sexual tension - just as the Gothic [[TheIngenue ingenue]] was tempted by the ByronicHero, the noir hero finds himself caught up in the wiles of the FemmeFatale. Like the Gothic HauntedHeroine, the noir hero may be haunted by his own inner demons (though usually of a less supernatural kind), but the closest he can come to her IncorruptiblePurePureness is being a KnightInSourArmor. If, when it comes down to it, he does the right thing even when he knows it will cost him greatly (and he might not), the universe will not reward him for his inner nobility - in contrast to the Gothic, which, despite its darkness, is at heart a fairly idealistic tradition where good perseveres and [[HolyBurnsEvil crosses repel vampires]]. There are no such guarantees in noir. Being a DoomedMoralVictor will have to be enough for the noir hero; as Creator/RobertMitchum says in ''Film/OutOfThePast'', "Build my gallows high."
The standard Noir landscape is [[CityNoir a large, oppressive city (filmed in dark and dusky conditions to create a moody atmosphere)]]. Familiar haunts include cheap hotels, dimly-lit bars,[[DenOfIniquity [[BadGuyBar nightclubs filled with questionable clientele]] (including the {{Gayngster}}) whom the lead may intimidate for information, gambling dens, juke joints and the ubiquitous seedy [[AbandonedWarehouse waterfront warehouse]] filled with [[CrateExpectations crates]] that FellOffTheBackOfATruck. At night in the big city, you can bet the streets are slick with rain, reflecting streetlights like a Hopper painting. [[HumansAreBastards Most of the characters (including the lead) are cynical, misanthropical and hopeless]] all the way through the film, and never find [[RedemptionQuest true redemption]].
The standard Noir landscape is [[CityNoir a large, oppressive city (filmed in dark and dusky conditions to create a moody atmosphere)]]. Familiar haunts include cheap hotels, dimly-lit bars,
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''Noir'', in the classic and stylistic sense, is visually darker than your average gangster picture, [[{{Chiaroscuro}} playing with light and long, deep shadows]] instead of bright, documentary-styled camera work. This visual motif is so iconic that homages and parodies are almost universally DeliberatelyMonochrome, using a transition between colour and black and white where necessary. Scenes are often filmed on location, and night scenes are shot at night. Camera angles are often very creative and unusual, heightening the viewers' sense of unease, adding to the atmosphere. The contrast between light and dark is sometimes used in the cinematography to reflect the difference between the [[BigBad villain]] and the protagonist(s). [[CyberpunkWithAChanceOfRain It rains most every night]] in Film Noir; filmmakers admit that this is entirely because at night wet pavement [[RuleOfCool looks cooler than dry]]. Also, the rain makes it plausible that no one else is around.
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''Noir'', in the classic and stylistic sense, is visually darker than your average gangster picture, [[{{Chiaroscuro}} playing with light and long, deep shadows]] instead of bright, documentary-styled camera work. This visual motif is so iconic that homages and parodies are almost universally DeliberatelyMonochrome, using a transition between colour and black and white where necessary. Scenes are often filmed on location, and night scenes are shot at night. Camera angles are often very creative and unusual, heightening the viewers' sense of unease, adding to the atmosphere. The contrast between light and dark is sometimes used in the cinematography to reflect the difference between the [[BigBad villain]] and the protagonist(s). [[CyberpunkWithAChanceOfRain It rains most every night]] in Film Noir; filmmakers admit that this is entirely because at night wet pavement [[RuleOfCool looks cooler than dry]]. Also, the rain makes it plausible that no one else is around.
around. That said, daytime scenes can be [[SunshineNoir harshly bright]].
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Protagonists in films noir are often normal people who get involved in crime, and the motivations are no longer just social or circumstantial but psychological and personal. The standard noir plot is, in broad terms, best summed up as centering around a protagonist who, usually by pure chance, is placed in a complex and dangerous situation completely beyond their control where they are pitted against an adversary whose identity and motives are not immediately obvious. The system and the law is usually either [[PoliceAreUseless apathetic to their plight]] or is even [[DirtyCop outright working against them]], meaning that they will have to take up the fight and make sense of it all by themselves or die trying. As a style and sensibility, Film Noir was flexible to include hybrids such as the Western-Film Noir (The 1947 film ''Pursued'' with flashbacks, DarkAndTroubledPast, high contrast black and white lighting and weird Freudian themes), and even the film-noir musical (''The Man I Love, Love Me and Leave Me'') and in the case of ''Leave Her to Heaven'' a Film Noir in technicolor.
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Protagonists in films noir are often normal people (classically, but not necessarily, a PrivateDetective) who get involved in crime, and the motivations are no longer just social or circumstantial but psychological and personal. The standard noir plot is, in broad terms, best summed up as centering around a protagonist who, usually by pure chance, is placed in a complex and dangerous situation completely beyond their control where they are pitted against an adversary whose identity and motives are not immediately obvious. The system and the law is usually either [[PoliceAreUseless apathetic to their plight]] or is even [[DirtyCop outright working against them]], meaning that they will have to take up the fight and make sense of it all by themselves or die trying. As a style and sensibility, Film Noir was flexible to include hybrids such as the Western-Film Noir (The 1947 film ''Pursued'' with flashbacks, DarkAndTroubledPast, high contrast black and white lighting and weird Freudian themes), and even the film-noir musical (''The Man I Love, Love Me and Leave Me'') and in the case of ''Leave Her to Heaven'' a Film Noir in technicolor.
Noir can also be seen as a successor to the GothicHorror novels of the 19th Century, moved from the decrepit castles of Romanticism and into the city streets of Modernism. Both forms typically revolve around around some sort of [[AwfulTruth terrible secret]] coming to light, a general air of unease and paranoia, a feeling of alienation from one's surroundings, and a middle-class distrust of the rich, although noir typically trades in the [[AristocratsAreEvil evil aristocracy]] for [[CorruptCorporateExecutive businessmen]] and {{corrupt politician}}s. Noir is also usually more masculine than the female-driven Gothics and more likely to have a male protagonist, although both forms typically rely heavily on sweltering sexual tension - just as the Gothic [[TheIngenue ingenue]] was tempted by the ByronicHero, the noir hero finds himself caught up in the wiles of the FemmeFatale. Like the Gothic HauntedHeroine, the noir hero may be haunted by his own inner demons (though usually of a less supernatural kind), but the closest he can come to her IncorruptiblePurePureness is being a KnightInSourArmor. If, when it comes down to it, he does the right thing even when he knows it will cost him greatly (and he might not), the universe will not reward him for his inner nobility - in contrast to the Gothic, which, despite its darkness, is at heart a fairly idealistic tradition where good perseveres and [[HolyBurnsEvil crosses repel vampires]]. There are no such guarantees in noir. Being a DoomedMoralVictor will have to be enough for the noir hero; as Creator/RobertMitchum says in ''Film/OutOfThePast'', "Build my gallows high."
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It is important to note that the term "Film Noir" was not available to the people who made them in the '40s and '50s. As Robert Mitchum famously stated, "We called them B-Movies." It comes from later audiences and critics who rediscovered these films in revival theaters and clubs and picked up the subtext, visual clues and other HiddenDepths. Many historians feel that the classic Film Noir genre died when it became self-conscious. Raymond Borde and Etienne Chaumenton cite the MGM musical ''The Band Wagon'' (made in 1952), where the final number featured a technicolor parody of a Mickey Spillane crime setting, with Creator/FredAstaire and Cyd Charisse playing the detective and femme fatale in an obvious send-up. Others feel that Creator/OrsonWelles' ''Film/TouchOfEvil'' was the real end, since it was made by the director of ''Film/CitizenKane'' (which, while not a Noir, influenced the lighting and style of several other films noir), and the genre conventions were pretty much stretched inside and outside. They also argue that Noir only worked in a climate of censorship, as the crime genre often fell BeneathSuspicion allowing writers and directors more chances to subvert cliches. Once censorship eroded, Film Noir had pretty much served its purpose and achieved its goals.
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It is important to note that the term "Film Noir" was not available to the people who made them in the '40s and '50s. As To quote Robert Mitchum famously stated, once again, "We called them B-Movies." It comes from later audiences and critics who rediscovered these films in revival theaters and clubs and picked up the subtext, visual clues and other HiddenDepths. Many historians feel that the classic Film Noir genre died when it became self-conscious. Raymond Borde and Etienne Chaumenton cite the MGM musical ''The Band Wagon'' (made in 1952), where the final number featured a technicolor parody of a Mickey Spillane crime setting, with Creator/FredAstaire and Cyd Charisse playing the detective and femme fatale in an obvious send-up. Others feel that Creator/OrsonWelles' ''Film/TouchOfEvil'' was the real end, since it was made by the director of ''Film/CitizenKane'' (which, while not a Noir, influenced the lighting and style of several other films noir), and the genre conventions were pretty much stretched inside and outside. They also argue that Noir only worked in a climate of censorship, as the crime genre often fell BeneathSuspicion allowing writers and directors more chances to subvert cliches. Once censorship eroded, Film Noir had pretty much served its purpose and achieved its goals.
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!!Common noir settings:
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!!Other tropes associated with Film Noir:
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