Abstract
Noir can be seen as a formula with a set of distinguishable thematic, narrative, and aesthetic elements matured in postwar Hollywood and later recycled, refined, or resisted by filmmakers worldwide. In the past decade, a handful of noirish crime films produced in People’s Republic of China particularly reworked this formula to articulate local concerns, one example being Black Coal, Thin Ice. By attempting a comparative analysis of this movie’s characterization with the noir formula’s conventional portrayal, this essay argues that Black Coal, Thin Ice revises the noir formula by drawing more attention to the noir killer’s plight as a demoralized state worker and deconstructing the formulaic presence of the femme fatale as a deadly and powerful seductress. Moving beyond the Black Coal, Thin Ice case, the essay also posits that the recent Chinese noirish crime films’ fusing of stylized chiaroscuro with color lighting to register various existential and psychological concerns enriches the chiaroscuro aesthetic of the noir formula.
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