The Study of Film Noir: Komiks, An Emerging Style
Hollywood, during WW2, worked closely with the US government in producing films geared toward boosting the morale of the troops. This alliance provided Hollywood the opportunity to utilize massive resources under the US government's disposal. In exchange for these resources, the US government's War Department was granted full creative control in terms of content and context of the said films. Nevertheless, this was the only time that Hollywood maintained a close and friendly working relationship with the US government.
The general euphoria experienced by Hollywood after WW2 was gradually replaced by a general sense of cynicism and economic bankruptcy. The US government no longer needed to maintain the alliance with Hollywood and vise versa. As a result, resources were radically reduced. Thus, Hollywood experienced an all time low since the depression.
From this distressed socio-political and economic situation, Hollywood needed to be prudent by making films that met the general feeling of the public during those days at the same time produce films within a tight budget.
Filmmakers began using techniques that were prevalent in B-Movies. As a result, they gradually developed a style that inexpensively deployed, relative to the massive budgets before and during WW2, materials that reflects the general situation of a nation who was trying to move on as it struggled to redefine its collective identity in the midst of a changed world.
Film Noir emerged as a style that generally influenced Hollywood films from the late forties up to the early fifties. Part detective story, part gangster and part urban melodrama or drama, it is a style that tackled downbeat subject matters that brings out the dark shadows of urban cynicism. Thus, dark and pessimistic undercurrents that feed on paranoiac mood characterize Film Noir as one of the more complex and intelligent Hollywood styles.
In terms of characteristics, Film Noir is always set in a gritty and urban setting. Characters are generally stereotypes, with some exceptions, that operate within a shadowy world of sex, crime and violence. Its approach to reality gives emphasis to the subject with minimal visual techniques. Thus, the creator takes a back seat and lets the subject of the material express itself with minimal intervention as it visually showcase the dark side of human interaction.
The Philippine Comic Industry, like Hollywood in the late forties and early fifties, is going through a crisis caused by socio-political and economic factors. It is experiencing an all time low in the midst of a highly globalized market. Thus, it needs to find the most economically efficient means in producing materials that reflects the general attitude of the immediate public.
Understanding the attitude of the public requires in depth statistical research and comprehensive information gathering. So it is difficult at this point in time to state an accurate description of this attitude in the immediate present. But making use of previous statistical studies conducted by SWS and Pulse Asia, we can draw an intelligent conclusion that the Filipino Public exhibits genuine feeling of cynicism in terms of the future. Uncertainties that feed on paranoiac mood and the limiting effects of poverty fuel this cynical view on life.
These conditions could break or make the industry. It depends on our attitude toward these unfortunate problems. Often, such problematic conditions are ideal causes in terms of enacting change. Thus, it is possible for a new style to emerge within the industry.
Komiks, I believe, is moving towards a second wave that draws inspiration within our cultural experience as a nation. These are materials that are familiar to us but different in terms of its deployment. Meaning, we create cultural based materials within an efficient framework that allocates resources efficiently. In this regard, Film Noir as a style provides us ideas in coming up with a framework that will help us achieve this end. So what is Komiks as defined in this second wave?
Urban melo-horror or true horror, Komiks is a style that tackles downbeat subject matters that brings out the dark shadows of urban cynicism. Thus, Komiks as a Filipino Comic Book Style, exhibits genuine feeling of cynicism in terms of the future. Uncertainties that feed on paranoiac mood and the limiting effects of poverty fuel this cynical view on life.
In terms of characteristics, Komiks is always set in a gritty, urban and socially conscious setting. Characters are generally stereotypes or archetypes that operate within a shadowy world of sex, poverty, crime and violence. Its approach to reality gives emphasis to culturally unique subjects with minimal visual techniques. Thus, the creator takes a back seat and lets the subject of the material express itself with minimal intervention as it visually showcase the dark side of human interaction.
This definition, in terms of style, set the parameters in creating a material that is best suited in the present market and industry conditions. This is a template that will guide us in giving birth to a new trend in the Philippine Comic Book Industry with the hope that it will re-establish its own as it struggles to compete against its foreign counterparts.
At the same time, the template should never limit one's creativity in developing further the style. This is a living organism that is subject to change. But before improving the animal, one must understand its nature. Meaning, know the rules first before you break it.
The first wave of Komiks is over. Though it is vital that we understand the past, to dwell in it is an exercise of futility. We must move forward, shed the old skin and look to the future. Manga and the American type of Comics are effective teaching tools but these are not what define us as an industry.
I appeal to those who still believe in the potential of this industry, we must make a critical but optimistic stand in reinventing a community beleaguered with comic book copycats and unscrupulous artists. Nothing is sweeter than to see this industry thriving once more in a community of competent writers, story editors, artists and publishers.
This is not an easy task. There are a lot of obstacles to contend with. Some people believe that this industry is not dying rather it is already dead. Nevertheless, if death is a necessary function for any industry to thrive again, then this industry is worth fighting for.
The general euphoria experienced by Hollywood after WW2 was gradually replaced by a general sense of cynicism and economic bankruptcy. The US government no longer needed to maintain the alliance with Hollywood and vise versa. As a result, resources were radically reduced. Thus, Hollywood experienced an all time low since the depression.
From this distressed socio-political and economic situation, Hollywood needed to be prudent by making films that met the general feeling of the public during those days at the same time produce films within a tight budget.
Filmmakers began using techniques that were prevalent in B-Movies. As a result, they gradually developed a style that inexpensively deployed, relative to the massive budgets before and during WW2, materials that reflects the general situation of a nation who was trying to move on as it struggled to redefine its collective identity in the midst of a changed world.
Film Noir emerged as a style that generally influenced Hollywood films from the late forties up to the early fifties. Part detective story, part gangster and part urban melodrama or drama, it is a style that tackled downbeat subject matters that brings out the dark shadows of urban cynicism. Thus, dark and pessimistic undercurrents that feed on paranoiac mood characterize Film Noir as one of the more complex and intelligent Hollywood styles.
In terms of characteristics, Film Noir is always set in a gritty and urban setting. Characters are generally stereotypes, with some exceptions, that operate within a shadowy world of sex, crime and violence. Its approach to reality gives emphasis to the subject with minimal visual techniques. Thus, the creator takes a back seat and lets the subject of the material express itself with minimal intervention as it visually showcase the dark side of human interaction.
The Philippine Comic Industry, like Hollywood in the late forties and early fifties, is going through a crisis caused by socio-political and economic factors. It is experiencing an all time low in the midst of a highly globalized market. Thus, it needs to find the most economically efficient means in producing materials that reflects the general attitude of the immediate public.
Understanding the attitude of the public requires in depth statistical research and comprehensive information gathering. So it is difficult at this point in time to state an accurate description of this attitude in the immediate present. But making use of previous statistical studies conducted by SWS and Pulse Asia, we can draw an intelligent conclusion that the Filipino Public exhibits genuine feeling of cynicism in terms of the future. Uncertainties that feed on paranoiac mood and the limiting effects of poverty fuel this cynical view on life.
These conditions could break or make the industry. It depends on our attitude toward these unfortunate problems. Often, such problematic conditions are ideal causes in terms of enacting change. Thus, it is possible for a new style to emerge within the industry.
Komiks, I believe, is moving towards a second wave that draws inspiration within our cultural experience as a nation. These are materials that are familiar to us but different in terms of its deployment. Meaning, we create cultural based materials within an efficient framework that allocates resources efficiently. In this regard, Film Noir as a style provides us ideas in coming up with a framework that will help us achieve this end. So what is Komiks as defined in this second wave?
Urban melo-horror or true horror, Komiks is a style that tackles downbeat subject matters that brings out the dark shadows of urban cynicism. Thus, Komiks as a Filipino Comic Book Style, exhibits genuine feeling of cynicism in terms of the future. Uncertainties that feed on paranoiac mood and the limiting effects of poverty fuel this cynical view on life.
In terms of characteristics, Komiks is always set in a gritty, urban and socially conscious setting. Characters are generally stereotypes or archetypes that operate within a shadowy world of sex, poverty, crime and violence. Its approach to reality gives emphasis to culturally unique subjects with minimal visual techniques. Thus, the creator takes a back seat and lets the subject of the material express itself with minimal intervention as it visually showcase the dark side of human interaction.
This definition, in terms of style, set the parameters in creating a material that is best suited in the present market and industry conditions. This is a template that will guide us in giving birth to a new trend in the Philippine Comic Book Industry with the hope that it will re-establish its own as it struggles to compete against its foreign counterparts.
At the same time, the template should never limit one's creativity in developing further the style. This is a living organism that is subject to change. But before improving the animal, one must understand its nature. Meaning, know the rules first before you break it.
The first wave of Komiks is over. Though it is vital that we understand the past, to dwell in it is an exercise of futility. We must move forward, shed the old skin and look to the future. Manga and the American type of Comics are effective teaching tools but these are not what define us as an industry.
I appeal to those who still believe in the potential of this industry, we must make a critical but optimistic stand in reinventing a community beleaguered with comic book copycats and unscrupulous artists. Nothing is sweeter than to see this industry thriving once more in a community of competent writers, story editors, artists and publishers.
This is not an easy task. There are a lot of obstacles to contend with. Some people believe that this industry is not dying rather it is already dead. Nevertheless, if death is a necessary function for any industry to thrive again, then this industry is worth fighting for.
posted by cadaver_lover | 8:41 PM
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