Sentences with phrase «film noir narrative»

I just hope that Rockstar stick to their guns on this one, and I am hoping that their choice to bring the game in - house and drop Remedy as the games key developer is a wise decision, as Remedy's game style is very distinctive and they seem to understand fully how a film noir narrative needs to be portrayed in video games (can you tell I haven't played LA Noir yet).

As soon as the trailer opens with Max's narration I could instantly tell that Rockstar have not totally chucked out the Film Noir core that makes the Max Payne franchise unique.Which makes a lot of sense as one of Rockstars biggest releases this year has been LA Noir, which again follows a film noir narrative.

The mixture of film noir narrative and great 3rd person shooter action made for a highly addictive game, that I spent countless hours playing.

Not exact matches

There reaches a point, however, at which Killer's Kiss begins to morph into an unexpectedly compelling film noir, as the narrative begins revolving around Davey and Gloria's efforts at escaping from Vincent's increasingly nefarious clutches.

The mood is also helped by an excellent score by David Holmes that taps into a 70's caper vibe while Soderbergh employs a whole host of stylistic, directorial flourishes; he cleverly plays with the time frame throughout the narrative with complex use of flashbacks and freeze frames and puts a fresh spin on film noir.

Muller is particularly illuminating when discussing Otto Preminger's formal inventiveness — his long, subtle takes, his ability to create compositions that essentially edit the film within the camera — and the various noir «types» that inhabit the narrative, such as the «bad cop» or the sickly neighbor who, in Muller's words, is often «waiting around to be a plot point in a crime story.»

Originally aired in 1986, and featuring Michael Gambon in a tour - de-force performance as psoriasis - deformed writer Philip E. Marlow, The Singing Detective fused three narratives: a present - day drama about a psychiatrist trying to get the root of Marlow's childhood trauma, flashbacks to the writer's past, and a Raymond Chandler - eseque 1940s film noir fantasy.

It could be argued that — like a lot of the 1970s noir — the idea is that the brightness of the color scheme and the artifice is on purpose, that it's meant to act as a counter to the film's narrative darkness.

Unfortunately, even though this film possesses a wonderful example of retroactive narrative structure in noir, it is almost completely ignored in Tyrer's text.

Although it finishes at the bottom, Following gave every indication that Christopher Nolan was a writer / director with a sharp point of view who could weave a complex narrative into a cohesive story — laying the groundwork for a noir film like Memento.

The flashback, circular structure of a narrative about a doomed man is an essential feature of film noir (see Sunset Boulevard, Out Of The Past, Detour, Double Indemnity, etc) and Lost Highway is structured like a Möbius strip, coiling back on itself in a way that reflects the disturbed consciousness of the protagonist, condemned to replay the tragic events of his life in an endless loop.

Deftly blending the romantic noir of the classic film Casablanca with a riveting, suspenseful narrative and vivid historical detail, City of the Sun offers a stunning portrayal of a time and place that was not only pivotal for the war, but also sowed much of the turbulence in today's Middle East.

A game franchise that was infamous for its dark gritty narrative and film noir overtone was going to be set in the bright sunny climate of Brazil.

The game uses a film - noir narrative style with visuals that may remind you of one of the two Sin City live - action movies.

Matt Haffner's (b. 1969 in Akron, Ohio) work on panel explores ambiguous narrative derivative of film noir and comic books.

The artwork observes Keen's early experimentations as a filmmaker — blending bizarre narrative, explosive animation and an orgy of surrealist collage with a ramshackle, stop - motion glimpse of film noir.

Keen's watercolor drawing series from the 1970s accompanying the film features fragmented film - noir inspired narrative told through a combination of words and images; the works are significant expressions of the artist's complex and idiosyncratic creative philosophy.

A maelstrom of references and influences from vaudeville to film noir to modern dance, Sullivan's appropriation of classic filming styles, period costumes, and contemporary spaces (such as corporate offices) draws the viewer's attention away from traditional narratives and towards an examination of performance itself.