Neo-Noir and Other Terms: The Differences of Classic Noir and the Terminology For A New Era of the Genre

Dana Strauss

Noir Film and Novel

Prof. Sinowitz

Topic 2

Final Project 12/15/17

Neo-Noir and Other Terms:

The Differences of Classic Noir and the Terminology For A New Era of the Genre

The resurrection of the noir genre in the late 1960s and 1970s sparked a new movement that was classified as neo-noir. While this term was helpful in distinguishing this new beginning from the classic noir films and literature of the 1930s and 1940s, the term neo-noir has been a topic of discussion since it was coined in the 1980s. There is a definitive difference between the noir genre of the 1940s and noir in the 21st century, though the films messages and styles are very similar. This brings up the question as to whether the “neo” is even necessary. What are the differences exactly between classic and neo noir? Is it the simple fact that it is a rebirth of a genre that is no longer in black and white? What else has changed? James Naremore argues the point that the “neo” only confuses the fact that there are so many films that incorporate noir styles and themes. With the implication of newness on the revival of noir, it is then hard to determine the distinction between classic noir and this new era of film where there are so many genre crossovers. Foster Hirsch argues that there must be a distinction between the classic period and the new period because, like any genre, it has to continue to reinvent itself. However, Hirsch describes the term “neo” to be misleading, stating that there is a time limit on how long the “new” period lasts in any genre. Frederic Jameson continues with this theory, stating that noir has changed enough to earn the “neo” due to the ever changing consumer society. Though the themes are almost identical, the social climate is different so the genre must be different as well. John G. Cawelti agrees with this, expanding on the theory with the film Chinatown and the way the film takes a darker turn due to the changing rules of not only society, but Hollywood itself. Todd Erickson also backs up Jameson’s theory, noting that while neo-noir has the same themes and tropes of classic noir, it is based in nostalgia and not in the creation of a new genre. While neo-noir and noir can be classified as one in the same, it is important to recognize the societal differences as well as the differences in the tone and reception between them, therefore justifying the use of a term to distinguish them. 

Naremore’s argument stems from the idea that while noir was revolutionary at the time, it is no longer an unique genre due to the interconnectedness of modern day cinema. Therefore, there is no need for there to be a new term for the genre, as all genres take different tropes and stylistic aesthetics from each genre. For example, Christopher Nolan's Batman series takes classic noir imagery and incorporates it into a world with superheroes and a comic book storyline. Noir, while it is distinguishable when seen, “has always been something of an in-between category, a form of popular entertainment that shades over into the art cinema and the darker forms of modernism or postmodernism” (James Naremore More than Night). Naremore’s argument raises important points for the “neo” in noir to be nonessential, and many scholars agree with the theory that genres have become so convoluted that there is no need for any new terms for an already established genre. However there are too many differences between classic and neo noir for there not to be some sort of differentiating term, “neo” seems to not be quite right for many. 

Hirsch is in agreement that while the version of noir starting in the late 1960s have distinct differences from the classic period, the term “neo” seems to give off the wrong message. Hirsch states that “‘neo-noir’... is graphic but misleading: ‘neo’ after all implies a new spin on a traditional style, a promise of a postmodern tease or twist, an advance over the classic formulas. ‘Neo’ acknowledges a difference between now as opposed to then; but for how long can noir continue to be in a ‘neo’ phase? How long does a new period last in any style or genre.” Noir has become a historical reference, a thing of the past, though there were only around 10 years before the genre was popularized again in the late 1960s. With such a small gap between the resurgence of noir, and the continuation of that resurgence into today’s modern media, how is “neo” appropriate?  With “neo’s” implication of a new and fresh take on the genre, that take would have to begin with a fresh start to the genre. However, Hirsch argues that the beginning of each surge of popularity was due to the rise of women’s empowerment during those times. In the classic noir genre, the amount of women entering the workforce was historical, due to World War II. Then, in the late 1960s and 1970s, women were fighting against workplace inequality and sexual freedom. The rise of this genre also came with the rise of the femme fatale trope, “noir’s misogyny functioned as a kind of containment: beware, this is what happens when iron-willed women seize power over men” (Foster Hirsch “Detours and Lost Highways). If this new movement of noir had a new start, then the term “neo” would be justifiable, however, “preserving male dominance against escalating threats has continued to be postclassic noir’s primary concern… neo noir like classic noir presents strong women as Venus flytraps determined to snare unwary men” (Foster Hirsch “Detours and Lost Highways”). Due to the similarities of the start of each movement, the statement that the term “neo” is misleading rings true, though it is important to note what has changed from the classic period to the modern period of noir. 

   While the popularity of noir rose each time in similar climates regarding women, the cinematic climate was changing drastically. There were far less regulations on what could be put into mainstream film, something Jameson relates to postmodernism, a term with much fewer time constraints than the term “neo.” With many changes in cinema, the noir genre allowed for a nostalgic look into past films and novels that many directors still draw inspiration from today. Instead of these modern noir films be a commentary on modern day culture, they are instead a more nostalgic look back into the past while incorporating modern aesthetics and scenarios. While many consumers were delighted at the rebirth of a familiar yet dark genre, Jameson is critical of the directors that seem incapable of new concepts that better fit their time period. Jameson states “[I]t seems to me exceedingly symptomatic to find the very style of nostalgia films invading and colonising even those movies today which have contemporary settings: as though, for some reason, we were unable today to focus on our own present, as though we have become incapable of achieving aesthetic representation for our own current experience” (Frederic Jameson “Postmodernism and Consumer Society”). While Jameson rightfully is concerned with the originality of the concepts of the resurgence of noir, it is important to note the foundation of genre and the underlying themes that are used within each category.  

Cawelti analyzes the similarities within the noir genre in his essay entitled “Chinatown and Generic Transformation in Recent American Films,” noting that the classic tropes of the hardboiled detective and the femme fatale are essential components. The classic noir protagonist is a working class private eye with a devotion to justice, usually tricked or used as a pawn in a larger scheme than the case he is working on, and a suave yet grunge version of a heroine. The disastrous and beautiful femme fatale tries to snare the detective using deceit and sexuality, though she rarely escapes the film unscathed. These characters are present in all noir films, spanning from the classic era to the most recent noir films. However, while these are the most common noir traits, there is a noticeable difference between the way the classics navigate the betrayal and dark themes than the newer films. Cawelti acknowledges these differences in the film Chinatown, stating “Chinatown places the hardboiled detective story within a view of the world that is deeper and more catastrophic, more enigmatic in its evil, more sudden and inexplicable in its outbreaks of violent chance.” The changes in society then allowed noirs dark themes to become even darker, more malicious in its portrayal of the characters and situations that earlier noir films were not able to fully convey. Chinatown, unlike the 1929 novel and 1941 film The Maltese Falcon where the most disturbing scene is Spade’s aggression towards Wilmer, explores the moral destruction of several characters and complex themes that are darker than any other noir film that predates it. 

Noir, like any genre, is ever changing, growing, and expanding in the ways that the classic characteristics can be modernized and unique. While the term “neo” noir has been popularized as the expression for more modern noir films, it does not capture the developing genre and movement. There is a definite distinction between the classic noir films and literature, though the skeleton of all noir stories stays true to the beginning movement. However, even with the changes and maturation the genre has gained over the years, “neo” does not grasp what this new wave of films are. “Neo,” as Hirsch claims, is inaccurate when taking into consideration how many decades this genre has been established. Although Naremore’s argument that there are too many crossovers and that genre has become somewhat obsolete raises good points as to how certain movies classified outside of noir have the same tone, a true noir is unmistakable, even within the newer noir films and literature.