The consideration of which films are categorically considered to be part of "film noir" is, at times, complicated and unsure. Film noir, or literally "dark film", is defined by Thompson and Bordwell as "a term applied by French critics to a type of American film, usually in the detective or thriller genres, with low-key lighting and a somber mood" (478).  The two most useful ideas presented in this definition are that film noir is a cinematic style that seems deeply tied to its American genesis and identity, and that the categorization itself is a latent one, retroactively applied in a critical sense to an organic formation of cinema aesthetic and tonality. As a stylistic movement that was catalyzed by the America of the 1940's- an America disillusioned by the Great Depression, engaged in the Second World War, and the general anxiety and tension that accompanied- film noir often reflects a general disillusionment, cynicism, and hostility towards an all-happy conception of society and the world.   In this sense, the noir film movement could be visualized as a femme-fatale 'blowing smoke in the face' of shamelessly optimistic philosophies and the supposed naivety that produced them. Many consider the period of "classic noir" to stretch from the early 1940's to the late 1950's, although where the noir-style of filmmaking technically ends is heavily debated, with films such as Cape Fear (which is considered by some to be part of the noir canon) being produced into the 1960's. This being said, many consider Orson Welles' Touch of Evil (1958) to be the last of the "classic noir" period (wikipedia). 

One way to frame film noir is as a collection of elements, rather than as a strictly-defined excercise in genre.  Many of the archetypes associated with noir- the private detective, rainy streets, and the femme fatale are not necessary for a film to be considered a noir.  In this sense, the visual and thematic style becomes the unifying characteristic, with low-key, high-contrast lighting and the emphasis of the "grittier" elements of life reflecting the perceived pessimism of film noir.  As Alain Silver notes, "noir protagonists are seldom creatures of the light" (15).  

German Expressionism American Style?

The description above bears a striking similarity to the much earlier genre of German Expressionism. Both styles of filming contain exuberant useage of shadows and darkness, as well as somewhat doomed protagonists who seems to be combating their own minds above anything else. Also, the plotlines of both genres seem to deal with the darker side of the human psyche. In many instances, the characters within both genres of film are pushed so far past the limits of what one would define as "real," that they become something else entirely; one is able to infer a deep psychological sense of what the character onscreen has gone through (at least that is what one would hope). It is also noteable that the two different genres share a very similar mise en scene, consisting of shadowy characters and dark sets. One reason for this could be that many of the German filmmakers who had been developing German Expressionism fled their country as a response to the rise of the Third Reich, which resulted in immigration to America, where their stylistic ways of thinking were utilized and appreciated on a different level.

Primary differences between the two genres include the stark contrast of American life in the 1940's, as opposed to German life in the 1920's. Many of the outlandish characters who could have become mad scientists or tormented souls under the reign of German Expressionism came to mirror almost many of the same extremities, albeit in a much more Americanized style; metaphysical creatures of the night transformed into literal creatures of the night.

The Legacy of the "Dark Film"

The influence of the classic noir period has resonated in cinema in a fairly consistent capacity.  Blade Runner, with its rainy Los Angeles and social-outcast detective protagonist, uses elements of the noir aesthetic to inform its postmodern exploration of identity and individual selfhood (see the Allusions in Blade Runner page for a more detailed treatise on the film's elements).

Examples of Film Noir

There are many prominent examples of film noir, even outside of the specific genre itself. Countless films have borrowed much influence from this specific style of filmmaking, which makes the organization of a truly comprehensive list nearly impossible. However, I have included a link to a large database which contains many examples within the genre. To see it, simply click here.

Major Edit Suggestions:

- The importance of film noir as an American genre, even though its influence is seen throughout world cinema.  Also, it seems interesting that the term was coined by French film critics, who were viewing American cinema from a certain distanced vantage.

- More on Film Noir's legacy.  I think you could argue that Audition, or lots of other films, employ the characteristics of all that is noir.  The French New Wave and German Expressionism are interconnected as influence and influenced, respectively.

- Examples of Noir filmmaking. Duh, I'm dumb for not including this.

Works Cited