The background information below is derived from the web link www.filmsite.org/filmnoir.html which contains a more detailed history of the film noir style.

Film Noir (literally 'black film or cinema') was coined by French film critics who noticed the trend of how 'dark' and black the looks and themes were for many American crime and detective films released in France following the war. It was a style of black and white American films that first evolved in the 1940s, became prominent in the post-war era, and lasted in a classic "Golden Age" period until about 1960. Strictly speaking, however, film noir is not a genre, but rather the mood, style, point-of-view, or tone of a film.

Classic film noir developed during and after World War II, taking advantage of the post-war ambience of anxiety, pessimism, and suspicion. These films reflected the resultant tensions and insecurities of the time period, and counter-balanced the optimism of Hollywood's musicals and comedies. The criminal, violent, misogynistic, hard-boiled, or greedy perspectives of anti-heroes in film noir were a metaphoric symptom of society's evils, with a strong undercurrent of moral conflict.

The earliest film noirs were detective thrillers, with plots and themes often taken from adaptations of literary works - preferably from best-selling, hard-boiled, pulp novels and crime fiction by Raymond Chandler, James M. Cain, Dashiell Hammett, or Cornell Woolrich. Very often, a film noir story was developed around a cynical, hard-hearted, disillusioned male character [e.g., Robert Mitchum, Fred MacMurray, or Humphrey Bogart] who encountered a beautiful but promiscuous, amoral, double-dealing and seductive femme fatale [e.g., Mary Astor, Veronica Lake, Jane Greer, Barbara Stanwyck, or Lana Turner].

So-called post-noirs (modern tech-noirs, neo-noirs, or cyberpunk) appeared after the classic period with a revival of the themes of classic noir, although they portrayed contemporary times and often were filmed in color. Well-recognized neo-noirs include Chinatown (1974), Body Heat (1981), and L.A. Confidential (1997).

The primary moods of classic film noir were melancholy, alienation, bleakness, disillusionment, disenchantment, pessimism, ambiguity, moral corruption, evil, guilt, desperation and paranoia. Heroes (or anti-heroes), corrupt characters and villains included down-and-out, conflicted hard-boiled detectives or private eyes, cops, gangsters, government agents, socio-paths, crooks, war veterans, petty criminals, and murderers. These protagonists were often morally-ambiguous low-lifes from the dark and gloomy underworld of violent crime and corruption. Distinctively, they were cynical, tarnished, obsessive (sexual or otherwise), brooding, menacing, sinister, sardonic, disillusioned, frightened and insecure loners (usually men), struggling to survive - and in the end, ultimately losing.

The females in film noir were either of two types (or archetypes) - dutiful, reliable, trustworthy and loving women; or femme fatales - mysterious, duplicitous, double-crossing, gorgeous, unloving, predatory, tough-sweet, unreliable, irresponsible, manipulative and desperate women. Usually, the male protagonist in film noir wished to elude his mysterious past, and had to choose what path to take (or have the fateful choice made for him).

Film noir films (mostly shot in gloomy grays, blacks and whites) showed the dark and inhumane side of human nature with cynicism and doomed love, and they emphasized the brutal, unhealthy, seamy, shadowy, dark and sadistic sides of the human experience.

Film noir was marked by expressionistic lighting, deep-focus camera work, disorienting visual schemes, jarring editing or juxtaposition of elements, skewed camera angles (usually vertical or diagonal rather than horizontal), circling cigarette smoke, existential sensibilities, and unbalanced compositions. Settings were often interiors with low-key lighting, Venetian-blinded windows and rooms, and dark, claustrophobic, gloomy appearances. Exteriors were often urban night scenes with deep shadows, wet asphalt, dark alleyways, rain-slicked or mean streets, flashing neon lights, and low key lighting.

Narratives were frequently complex, maze-like and convoluted, and typically told with foreboding background music, flashbacks (or a series of flashbacks), witty, razor-sharp and acerbic dialogue, and/or reflective and confessional, first-person voice-over narration. Amnesia suffered by the protagonist was a common plot device, as was the downfall of an innocent Everyman who fell victim to temptation or was framed. Revelations regarding the hero were made to explain/justify the hero's own cynical perspective on life. Some of the most prominent directors of film noir included Orson Welles, John Huston, Billy Wilder, Edgar Ulmer, Robert Siodmak, Fritz Lang, Otto Preminger, and Howard Hawks.)