According to Walker (3), the concepts of film noir that makes it especially fascinating are its “distinctive and exciting visual style, an unusual narrative complexity and a generally more critical and subversive view of American ideology than the norm”. Film noir utilizes the Hard-boiled tradition and German expressionist features to portray a film that is both complex and fascinating. In combination of the Expressionism, Fatalism and Realism that the film portrays, film noir conveys a dark world and a sense of unusual surreslism to the audiences. Meanwhile, the unique patterns of visual iconography and unusual stylist narrative elements structure the conventions in film noir, which generate the firmly distinctive consciousness beyond other
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The low-key lighting and casting the shadows effectively and efficiently emphasis the fate of the character and connect the audience to them without any doubts, which underlies the motif of Goth. There is another visual aesthetic, the moving camera entails the realist and consistent movements in the chaotic environments that draws/relieves the tension addressing the long take and sequence shots in supports of lighting and editing. Moreover, the unique flashback narrative style embodies the dangers of the noir world by providing the sufficient information to audience. At the same time, the three narrative elements ensure the complement of The Killers structure in terms of protagonists that interwoven the femme fatale, the victim-hero and the ‘hard-boiled’ private eye in fragmented paranoid narrative. Metaphorically, the shadow casting on the Swede implies an underlying hopeless situation and noir fatalist destroys to him engendered by his femme fatale, Kitty, whilst the fragmented flashbacks are developed by the investigations of seeker-hero to draw the audience gradually close to the truth of Swede’s death. Therefore, the visual iconography is firmly fitting along with the complex narrative in film noir that expressively create the sense of noir realist Fatalism and Expressionism to The Killers in
The low-key lighting and casting the shadows effectively and efficiently emphasis the fate of the character and connect the audience to them without any doubts, which underlies the motif of Goth. There is another visual aesthetic, the moving camera entails the realist and consistent movements in the chaotic environments that draws/relieves the tension addressing the long take and sequence shots in supports of lighting and editing. Moreover, the unique flashback narrative style embodies the dangers of the noir world by providing the sufficient information to audience. At the same time, the three narrative elements ensure the complement of The Killers structure in terms of protagonists that interwoven the femme fatale, the victim-hero and the ‘hard-boiled’ private eye in fragmented paranoid narrative. Metaphorically, the shadow casting on the Swede implies an underlying hopeless situation and noir fatalist destroys to him engendered by his femme fatale, Kitty, whilst the fragmented flashbacks are developed by the investigations of seeker-hero to draw the audience gradually close to the truth of Swede’s death. Therefore, the visual iconography is firmly fitting along with the complex narrative in film noir that expressively create the sense of noir realist Fatalism and Expressionism to The Killers in