Schraedar and Film Noir

Before coming to class I was still somewhat confused as to what exactly Film Noir was. I had a general ideal, but still had a little bit of confusion. I liked the fact that Film Noir was described more so as a style than classifying it as a genre. Typically when I think of genre, I think of music and the many genre that fall within music. At times there are way too many, and some tend to get lost along the way. When I think of something being classified as a style I think of something in particular that is distinguished from the rest, and that’s what I think the article was trying to do. When we talked about Double Indemnity and how Film Noir was used, such techniques as lighting, tone, and the mood of the film where all characteristic of Film Noir and were also illustrated in the film.
After going over those techniques in class, those almost immediately stood out to me. In the scene where Walter Neff was ringing the door bell to come in and how he was cast by a shadow, then as Mrs. Dietrichson is coming up to the banister and the lighting techniques that were involved in their entire first meeting, where all things that Schraedar talked about as being a part of Film Noir. One thing that struck me as interesting and ironic was the elements that went along with the film being shot during the time of World War II. One thing Prof. Lopez touched on that I didn’t notice was that during WWII food supply was very scarce. One thing that was shown in the Wilder film was the fact that the supermarket shelves were packed with food. Its Film Noir techniques such as that one in particular that would have gone unnoticed if it had not been brought to my attention.