or otherwise, frightened and insecure loners usually men, struggling to survive –
and in the end, ultimately losing.
45
F. Cinematography
Cinematography is the act of capturing photographic images in space through the use of a number of controllable elements.
46
Cinematography and
mise-en-scène
47
cannot be separated and related each other. Cinematography works when
mise-en- scène
aspects are available and the scene is ready to take. Cinematography include the quality of the film stock, the manipulation of the camera lens, framing,
scale and movement, and mise-en-scène
include actors, lighting, decor, props, and
costume.
48
Noir genre has relation with low-key lighting and camera lens deep focus to build the mood in film. Low-key lighting and camera lens deep focus are some of
elements of the Noir film.
a. Low-Key Lighting
Low-key lighting is a lighting scheme that employs very little light that creates strong contrasts between the brightest and the darkest parts or often called
chiaroscuro effect.
49
Low-key lighting creates strong shadows that obscure parts of
45
―Film Noir‖. Retrieved from http:www.filmsite.orgfilmNoir.html
accessed on March 2, 2015
46
Alexander Bewkes and Trey Hunsucker. ―College Film and Media Studies : A Reference Guide‖. Retrieved from
https:collegefilmandmediastudies.comcinematography accessed on
September 22, 2015
47
In the original French pronounced meez-ahn- sen means ―putting into the scene‖ and it
was first applied to the practice of directing plays.
48
Gabe Moura. ―The Elements of Cinema : A Student‘s Guide to the Fundamentals of filmmaking‖. Retrieved from
http:www.elementsofcinema.comdirectingmise-en-scene-in-films Accessed on September 15, 2015
49
Anonymous. Retrieved from www.classes.yale.edufilm-analysis
accessed on September 17, 2015
important subject and associated with ―hard boiled‖ or suspense genres such as film Noir.
b. Camera Lens Deep Focus
Deep focus technique is the result of a technological development in the lens
in the late 1930s
.
Deep focus requires elements at very different depths images, which mean that the foreground, middleground and background of the frame remain
in focus.
50
These can be seen in Touch of Evil Orson Welles, 1958 and Besieged LAssedio, Bernardo Bertolucci, 1998.
51
picture 1 picture 2
All of the different backgrounds of the images are given equal importance through deep focus, not only to the characters like the man peeking at the window in
the first image, but also to the spaces Shandurays basement room in the second.
50
Alexander Bewkes and Trey Hunsucker. College film and medi astudies.com. ―College
Film and
Media Studies
: A
Reference Guide‖.
Retrieved from
https:collegefilmandmediastudies.comcinematography accessed on September 22, 2015
51
Ibid.,
23
CHAPTER III DATA ANALYSIS
In this chapter, i analyze Trance film through Jane Stokes‘ conventions
concept; setting, location, iconography, narrative events, character and plot structure. This research is to answer the research question ―How Neo Noir genre is constructed
in Trance film through Jane Stokes‘ conventions?‖ and as the result, the research will
also proves that Trance is Neo Noir film. I use data from the text, pictures, and dialogues from Trance. Those data are analyzed to show the elements that build Neo
Noir genre.
A . Six ways to analyze Neo Noir genre by Jane Stokes’ convention concept
1. Setting
Setting is a supporting element in film production. Beside as the background of the story, setting can show social status of character and built mood of situation.
Commonly in Noir film or Neo Noir film, the setting is always in city.
52
In Trance,
below shows the setting in London city.
picture 1 00:17:35
52
Mark T. Conard. The Philosophy of Neo-Noir. Kentucky: The University of Kentucky, 2007, p. 40
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