فيلم سوداوي

Film noir
	Two silhouetted figures in The Big Combo (1955). The film's cinematographer was John Alton, the creator of many of film noir's stylized images.
سنوات النشاط	early 1940s – late 1950s
البلد	United States
التأثر	German Expressionism,; French Poetic Realism,; Italian Neorealism,; American Hardboiled Fiction,; Art déco (scenography)
التأثير	French New Wave

فيلم نوار (بالفرنسية: Film noir‏) هو مصطلح سينمائي يُستخدم للتعبير عن أفلام الجريمة والدراما الهوليودية، خصوصاً تلك التي ترتكز بمحتواها على التصرفات المفعمة بالتهكم والتشاؤم والدوافع الجنسية.^[2]^[3]^[4] وتمتد حقبة أفلام النوار الكلاسيكية الهوليودية من بداية أربعينات القرن العشرين حتى أواخر الخمسينات. وقد لازمها في تلك الفترة تحديداً أسلوب بصري قائم على التصوير القاتم بالأبيض والأسود، حيث يعود بجذوره إلى التصوير السينمائي الخاص بالموجة التعبيرية الألمانية. ويُلاحظ أن الكثير من قصص أفلام النوار الأولى وسلوكياتها استمدت روحها من مدرسة قصص الجريمة المعروفة باسم hardboiled “قصص بوليسية تمزج بين العنف والجريمة والجنس بأسلوب قاسي وجاد” وعرفت هذه القصص نور الشمس في الولايات المتحدة خلال فترة الكساد الاقتصادي.

لورا (1944) يعد من أشهر أفلام النوار

المصطلح “film noir” (فرنسي يعني “الفيلم الأسود”) اُستخدم للإشارة إلى الأفلام الهوليودية لأول مرة من قبل الناقد الفرنسي نينو فرانك في العام 1946، وكان مصطلحاً جديداً على مسامع كافة العاملين في صناعة الأفلام الأمريكية الكلاسيكية آنذاك. وقام المؤرخون السينمائيون والنقاد على حدٍ سواء بتعريف أسس النوار عبر إجراء مسح تاريخي؛ حيث أنه قبل رسوخ هذا المصطلح مع حلول فترة السبعينات، كان يُطلق على أفلام النوار الكلاسيكية مصطلح ميلودراما “مزيج بين العاطفة والدراما”. وما يزال الباحثون في موضع جدل إن كان “الفيلم نوار” مؤهل ليكون نوع سينمائي مستقل بحد ذاته.

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Literary sources

Magazine cover with illustration of a terrified-looking, red-haired young woman gagged and bound to a post. She is wearing a low-cut, arm-bearing yellow top and a red skirt. In front of her, a man with a large scar on his cheek and a furious expression heats a branding iron over a gas stove. In the background, a man wearing a trenchcoat and fedora and holding a revolver enters through a doorway. The text includes the tagline "Smashing Detective Stories" and the cover story's title, "Finger Man".

The October 1934 issue of Black Mask featured the first appearance of the detective character whom Raymond Chandler developed into the famous Philip Marlowe.^[5]

يتضمن الفيلم الأسود عدة أنواع من القصص، وعادة ما يكون البطل الرئيسي فيه إما محقق خاص (The Big Sleep)، شرطي متخفي (The Big Heat)، ملاكم مسن (The Set-Up)، محتال سيء الطالع (Night and the City) مواطن مطيع للقانون يندس إلى عالم الإجرام (Gun Crazy) أو ضحية لظروفه الاجتماعية (D.O.A.). وبالرغم من أن أجواء الفيلم الأسود عُرفت أساساً ضمن الأفلام الأمريكية، فقد باتت الكثير من الأفلام حالياً توصف بالنوار وفي كافة أرجاء العالم. فمع بداية فترة الستينات وصاعداً، صدرت العديد من الأفلام التي تشترك بنفس خصائص الفيلم الأسود الكلاسيكي، وتتعامل مع تقاليد الفيلم الأسود غالباً بطريقة الخصوصية الذاتية “نظرية تشير إلى العمل نفسه وتخدمه”. ويُشار كثيراً لهذه الأعمال الأكثر حداثة والمستخدمة لأجواء النوار باسم “نيو نوار – النوار الجديد”. كما ألهمت المعاني المجازية لفيلم النوار فن المحاكاة التهكمية منذ أواسط الأربعينات.

Classic period

Directors and the business of noir

Black-and-white image of a man and woman, both with downcast expressions, sitting side by side in the front seat of a convertible. The man, on the right, grips the steering wheel. He wears a jacket and a pullover shirt. The woman wears a checkered outfit. Behind them, in the night, the road is empty, with a two widely separated lights way off in the distance.

A scene from In a Lonely Place (1950), directed by Nicholas Ray and based on a novel by noir fiction writer Dorothy B. Hughes. Two of noir's defining actors, Gloria Grahame and Humphrey Bogart, portray star-crossed lovers in the film.

	Classic-era film noirs in the National Film Registry
1940–49	The Maltese Falcon \| Shadow of a Doubt \| Laura \| Double Indemnity \| Mildred Pierce \| The Lost Weekend Detour \| Gilda \| The Big Sleep \| The Killers \| Notorious \| Out of the Past \| Force of Evil \| The Naked City \| White Heat
1950–58	Gun Crazy \| D.O.A. \| In a Lonely Place \| The Asphalt Jungle \| Sunset Boulevard The Hitch-Hiker \| The Big Heat \| Kiss Me Deadly \| The Night of the Hunter \| Sweet Smell of Success \| Touch of Evil

Outside the United States

"Générique" ("Nuit sur les Champs-Élysées")

The moody, evocative music improvised by jazz trumpeter Miles Davis's quintet for Ascenseur pour l'échafaud (1958) is regarded as one of the definitive noir scores.^[6]

هل لديك مشكلة في تشغيل هذا الملف؟ انظر مساعدة الوسائط.

Science fiction noir

A man with close-cropped hair wearing a brown jacket sits at a counter, holding a pair of chopsticks poised over a rice bowl. Rain cascades down beside him as if from the edge of an awning. In the foreground is a teapot, several bottles, and other dining accessories. Steam or smoke rises from an unseen source. In the background, two standing men look down at the central figure. The goateed man on the left wears a dark snap-brim hat, a black coat with upturned collar, and a gold-trimmed vest. The man on the right, partly obscured by the steam, is wearing a constabulary-style uniform, featuring large wrap-around shades and a hat or helmet with a glossy, stiff brim. There is a bluish cast to the entire image.

Harrison Ford as detective Rick Deckard in Blade Runner (1982). Like many classic noirs, the film is set in a version of Los Angeles where it constantly rains.^[7] The steam in the foreground is a familiar noir trope, while the "bluish-smoky exterior" updates the black-and-white mode.^[8]

الحبكات والشخصيات والمناظر

Black-and-white film poster with an image of a young man and woman holding each other. They are surrounded by an abstract, whirlpool-like image; the central arc of the thick black line that define it encircles their head. Both are wearing white shirts and look forward with tense expressions; his right arm cradles her back, and in his hand he holds a revolver. The stars' names—Teresa Wright and Robert Mitchum—feature at the top of the whirlpool; the title and remainder of the credits are below.

By the late 1940s, the noir trend was leaving its mark on other genres. A prime example is the Western Pursued (1947), filled with psychosexual tensions and behavioral explanations derived from Freudian theory.^[9]

Notes

^{^} Opinion is divided on the English plural of film noir. In the French from which the term derives, the plural is films noirs. Some English speakers prefer films noir, while film noirs is the most common formulation. The Merriam-Webster Online Dictionary, which acknowledges all three styles as acceptable, lists film noirs first.^[10]
^{^} His Kind of Woman was originally directed by John Farrow, then largely reshot under Richard Fleischer after studio owner Howard Hughes demanded rewrites. Only Farrow was credited.^[11]
^{^} In Academic Dictionary of Arts (2005), Rakesh Chopra notes that the high-contrast film lighting schemes commonly referred to as "chiaroscuro" are more specifically representative of tenebrism, whose first great exponent was the Italian painter Caravaggio (p. 73). See also Ballinger and Graydon (2007), p. 16.

مراجع

^ https://www.lightsfilmschool.com/blog/short-film-draws-from-art-deco-film-noir-architecture-poster-design-expressionist-films
^ "The ten greatest neo-noir films". The Independent (in الإنجليزية البريطانية). 2016-09-30. Retrieved 2017-08-17.
^ Brennan, Mike (2005-04-04). "Sin City Original Motion Picture Soundtrack (review)". SoundtrackNet. Retrieved 2010-02-13.
^ Hughes, Sarah (2006-03-26). "Humphrey Bogart's Back—But This Time Round He's at High School". Observer. Retrieved 2010-10-10.
^ Widdicombe (2001), pp. 37–39, 59–60, 118–19; Doherty, Jim. "Carmady". Thrilling Detective Web Site. Retrieved 2010-02-25.
^ Butler (2002), p. 12.
^ Hunter (1982), p. 197.
^ Kennedy (1982), p. 65.
^ Ottoson (1981), p. 143.
^ "film noir". Merriam-Webster Online Dictionary. Merriam-Webster Online. Retrieved 2009-02-10. Inflected Form(s): plural film noirs \-'nwär(z)\ or films noir or films noirs \-'nwär\
^ Server (2002), pp. 182–98, 209–16; Downs (2002), p. 171; Ottoson (1981), pp. 82–83.

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