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Lighting

 L

ightning



1)

In this image we can analyse two uses of lighting. They use low-key lighting to light up one side of the face but a high-key light to give more light on the other side of her face.  





Low-Key lighting, Shadows exposes facial structure and expression, filler light to focus on the prop ( ciggerate on her hand).

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Low-key lighting with strong shadows to expose the facial structure, highlights props.

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Low-key lighting, strong shadows, light on the gun to make the audience focus on it,

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high-key lighting, shining from left side to give a shadow, 

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low-key lighting, key lighting from the window, More shadow on the girl, lighting depics a sad narrative due to where the shadow is located.

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High.key lighting, Makes strong shadows to make the character non-reconizable, Sugguest menacing prescence. 

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low-key lighting, strong shadow, depics character persona, dark narrative due to the strong shadow.

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high key lighting, backlight britter then filler light, costume, depressing atmosphere

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low key lighting, light to focus on prop, key light from top right, strong shadows on character, 

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high key lighting, strong shadows, shadow on man depicts persona, no light on women = innocent, light on the gun

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2)

Film noir isn't effortlessly characterized. The genuine words originate from French and signify "dark film." It was in France during the post-war years that the term was utilized to depict a specific arrangement of Hollywood movies that were soaked with murkiness and negativity that was not seen previously. These motion pictures incorporated The Maltese Falcon (1941), Double Indemnity (1944), Laura (1944), and Murder, My Sweet (1944).In the writing about film noir, you will have the same number of depictions about the theme as pundits and film history specialists are expounding on it. Some contend that it is a classification, while others battle that film noir is to a greater extent a tone or temperament in the film, and some fight that film noir is even more a visual style.

Furthermore, film noir can't be characterized simply by attributes in the film, in light of the fact that while there are sure characteristics that are available in numerous movies, they are not really. As Paul Schrader calls attention to in his article Notes on Film Noir, "film of metropolitan nightlife isn't really a film noir, and a film noir need not really concern wrongdoing and debasement." So then how might somebody distinguish a film noir? Schrader fights that there were four components present in Hollywood during the 1940s that brought about film noir and that those four components can likewise depict or characterize the point.


3)

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