Plot/group for our Groups

Group- Lily, Makenzie and I.

My Plot:

There is a sneaky robber who steals from a femme fatal, this femme fatal is very beautiful, sexy and rich. The femme fatal whose job is being an assassins/detective becomes extremely mad and tries to find this robber. On her search she has to murder a few innocent people and we see the background story of why someone robbed her. The robber robbed the femme fatal because his daughter is dying from cancer and he needs money for kemo. The femme fatal ends up discovering this and lets the robber keep the money. 

Film Noir- Ingredients

Characters 

•  Two female characters: the femme fatale –dressed in black, sexually alluring– that causes the downfall and/or death of the hero, and the honest, sympathetic and pretty young woman –dressed in pink or light blue, sexually insipid. The color code does help. 
• Ex-Private Eye, or Hard-Boiled Detective currently not active and working in a small town.
• Femme Fatale; this is a critical ingredient without which the successful noir may seem like it is missing a little something.
•    Mr. Big, a key ingredient that must get burned to complete the dish.
• Innocent, but beautiful woman. This helps to balance the tartness of the Femme Fatale.
• Tough guy; add more to taste. After all, there has to be something to make Mr. Big feel big.
• mafia type –the two men dressed in black

Setting

• The small town where the surface gleams with the vision of a church, a gas station, and a diner where everybody knows your name.
• A big city, looming darkly ominous in the background with sleazy nightclubs and rain-slick streets.

Plot

• Every film noir is about passion, cheating on your husband, money, adultery, identity change and crime.

Term 2: Film Noir

Film noir is a cinematic term used primarily to describe stylish Hollywood crime dramas, particularly those that emphasize cynical attitudes and sexual motivations. Hollywood's classical film noir period is generally regarded as extending from the early 1940s to the late 1950s. Film noir of this era is associated with a low-key black-and-white visual style that has roots in German Expressionist cinematography. Many of the prototypical stories and much of the attitude of classic noir derive from the hardboiled school of crime fiction that emerged in the United States during the Great Depression.

The term film noir, French for "black film," first applied to Hollywood films by French critic Nino Frank in 1946, was unrecognized by most American film industry professionals of that era. Cinema historians and critics defined the category retrospectively. Before the notion was widely adopted in the 1970s, many of the classic films noirs were referred to as melodramas. Whether film noir qualifies as a distinct genre is a matter of ongoing debate among scholars.

Film noir encompasses a range of plots: the central figure may be a private eye (The Big Sleep), a plainclothes policeman (The Big Heat), an aging boxer (The Set-Up), a hapless grifter (Night and the City), a law-abiding citizen lured into a life of crime (Gun Crazy), or simply a victim of circumstance (D.O.A.). 

Although film noir was originally associated American productions, films now so described have been made around the world. Many pictures released from the 1960s onward share attributes with film noir of the classical period, and often treat its conventions self-referentially. Some refer to such latter-day works as neo-noir. The clichés of film noir have inspired parody since the mid-1940s.