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Plagiat Merupakan Tindakan Tidak Terpuji Plagiat Merupakan Tindakan Tidak Terpuji PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI The Development and Metamorphosis of American Noir Sentiment Beginning in the 1940s: A Black Age of Frustration A THESIS Presented as a Partial Fulfillment of the Requirements for the Degree of Magister Humaniora in English Language Studies by Andrew Thren 126332039 THE GRADUATE PROGRAM OF ENGLISH LANGUAGE STUDIES SANATA DHARMA UNIVERSITY YOGYAKARTA 2015 i PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI ii PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI iii PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI iv PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI v PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI TABLE OF CONTENTS TITLE PAGE ………………………………………………..………...... i APPROVAL PAGE …………………………………………………….. ii ACCEPTANCE PAGE ………………………………………………… iii STATEMENT OF ORIGINALITY …………………………………… iv LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH UNTUK KEPENTINGAN AKADEMIS…………………... v TABLE OF CONTENTS ………………………………….…………... vi ABSTRACT …………………………………...……………………….. ix ABSTRAK ………………………………………………………………. x CHAPTER I INTRODUCTION ……………………………………..... 1 1. Background of the Study ……………………………………….... 1 1.1 What is American Film Noir? ………………………………….... 3 1.2 Noir as a Genre …………………………………………………... 4 1.3 Noir as a Mood/Style …………………………………………...... 6 1.4 Interest in the Study …………………………………………….... 10 1.5 Integrity of the Thesis as a Literary Work ……………………….. 12 1.6 Importance of the Study …………………………………………. 15 1.7 Research Questions ………………………………………………. 17 1.8 Methodology ………………………………………..……….....… 17 1.9 1940s American Sentiment ………………………….…………… 19 CHAPTER II LITERATURE REVIEW …………………………….... 25 2. Review of Related Studies ………………………………………... 25 2.1 Effects of the World War II Period on American Society ………… 25 2.2 Post World War II Condition ……………………………………... 30 2.3 Noir Production and Censorship Restrictions …………………...... 34 2.4 European Influence of Noir ………………………………………. 54 2.5 Noir as a Reflection of American Societal Concerns …………….. 56 2.6 Traditional Gender Roles and the Femme Fetale ………………… 66 2.7 Film and Storyline Variations in Depicting Societal Problems …... 76 2.8 Noir Detective Stories ……………………………………………. 80 2.9 Theoretical Framework …………………………………………… 88 vi PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 2.9.1 Existentialism at a Glance ………………………………………. 88 2.9.2 Arthur Schopenhauer and Existentialism ……………………… 93 2.9.3 Friedrich Nietzsche and Nihilism ………………………………. 96 CHAPTER III AMERICAN FILM NOIR AS AN EXTENSION OF EXISTENTIALISM …………………………………………………...... 105 3. Albert Camus and Existentialism ……………………………….... 105 3.1 Albert Camus’ The Stranger……………………………………... 105 3.2 Albert Camus’ The Myth of Sisyphus……………………….......... 114 3.3 Fatalism and Predetermination ………………………………........ 119 3.4 Fatalism and Voiceover Narration ………………………………....121 3.5 Existentialism and Male Protagonists …………………………...... 122 3.6 Material Items and Existentialism ……………………………….... 122 CHAPTER IV THE SPIRIT OF NOIR AS EXPRESSED IN MODERN AMERICAN SOCIETY ………………………………………………... 129 4. The Spirit of Noir ………………………………………………..... 129 4.1 Post WWII Neo-Noir TV Shows ………………………………..... 132 4.2 Neo-Noir Anti-Establishment Depictions ……………………….... 133 4.3 Modern Societal Issues Expressed through Noir …………………. 134 4.4 Neo-Noir Femme Fetales …………………………………………. 136 4.5 Neo-Noir Anti-Heroes …………………………………………….. 139 4.6 Existentialism and Neo-Noir Today ………………………………. 140 4.7 Three Types of Neo-Noir …………………………………………. 141 4.8 Portrayals of Classic and Neo-Noir ……………………………….. 143 4.9 Manifestations of Noir Today …………………………………...... 145 4.9.1 Modern Cultural Manifestations of Noir …………………........ 145 4.9.2 Expressions of Noir in the Media Today and in the Future….... 146 CHAPTER V CONCLUSION AND LIMITATIONS, SUGGESTIONS AND RECOMMENDATIONS .......................................................................... 152 5. Conclusion and Limitations, Suggestions and Recommendations for Further Research ……..............................................................…… 152 5.1 Conclusion and Limitations ……………………………………......152 5.2 Suggestions and Recommendations for Further Research ………... 155 REFERENCES ………………………………………………………...... 159 APPENDICES …………………………………………………………… 165 1. Appendix 1: Biography of James M. Cain (1892-1977) ………….. 165 vii PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 2. Appendix 2: Biography of Raymond Chandler (1888-1959) ……... 167 3. Appendix 3: Synopsis of The Postman Always Rings Twice by James M. Cain ….............................................................................. 170 4. Appendix 4: Synopsis of Double Indemnity by James M. Cain …... 171 5. Appendix 5: Synopsis of Mildred Pierce by James M. Cain ……... 172 6. Appendix 6: Synopsis of The Big Sleep by Raymond Chandler …. 173 7. Appendix 7: Synopsis of Farewell, My Lovely (Murder, My Sweet)........................................................................... 174 TABLES …………………………………………………………….......... 175 1. Table 1: Common Characteristics of Noir Films ………………..... 175 2. Table 2: Posters Depicting Positive Propaganda for the WWII War Effort ……................................................................................ 176 3. Table 3: The Detective Model ……………………………………. 177 viii PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI ABSTRACT Andrew Thren (2015). The Development and Metamorphosis of American Noir Sentiment Beginning in the 1940s: A Black Age of Frustration. Yogyakarta: English Language Studies, Graduate Program, Sanata Dharma University. American noir can be seen as being a certain mood or tone of literature and films that developed in the 1930s and continued until the 1950s. It is part of the same “genre” of a literary aesthetic product with a darker mood in the film adaptation. There are various definitions of noir and what characteristics comprise a work as being noir. Film noir possesses specific characteristics, moods, and attributes of its time period. Many of these thematic elements can be seen as being a reflection or extension of American sentiment in the World War II era, as America was facing a troublesome and uncertain future in the aftermath of the war. Many characters in film noir have a cultural and theological nihilism prevalent in their lifestyles. With differing opinions as to the rise and spread of noir literature and movies in the mid 20th century, I am interested in exploring two research questions. The research questions are 1) To what extent is American film noir an extension of existentialism? 2) How is the spirit of film noir still expressed in modern American society? Through examining existentialism primarily from the perspective of Albert Camus, this thesis strives to reveal the degree of pessimism, alienation, inhumanity, and overall frustration of the time period as portrayed through the main characters of the films under analysis and the extent to which a noir sentiment is found today. The results of the study reveal that noir is a particular style that has undergone various transformations over time and has made significant contributions to literature and pop culture. Keywords: American noir, American sentiment, alienation, nihilism, existentialism. ix PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI ABSTRAK Andrew Thren (2015). Perkembangan dan Perubahan Sentimen Noir Amerika Mulai Tahun 1940an: Era Hitam Kekecewaan. Yogyakarta: Magister Kajian Bahasa Inggris, Program Pasca Sarjana, Universitas Sanata Dharma. Noir Amerika dapat dipandang sebagai suasana atau kesan tertentu dari sebuah karya sastra dan film yang berkembang tahun 1930an dan berlangsung hingga 1950an. Ini merupakan bagian dari ‘genre’ yang sama dari sebuah produk estetis kesasteraan dengan suasana yang lebih gelap dalam adaptasi film. Terdapat berbagai definisi mengenai noir serta ciri-ciri apa yang menjadikan karya tersebut menjadi noir. Film noir memiliki ciri, suasana, dan atribut tertentu dalam periode waktunya. Banyak elemen tematiknya yang dapat dipandang sebagai sebuah refleksi atau ekstensi sentimen Amerika dalam era Perang Dunia II, ketika Amerika menghadapi masa depan yang penuh kekacauan dan ketidakpastian sebagai akibat dari perang. Banyak karakter yang ada dalam film noir memiliki nihilisme budaya dan teologi yang lazim dalam gaya hidup mereka. Dengan berbagai pendapat yang berbeda mengenai perkembangan dan penyebaran karya sastra dan film-film noir pada pertengahan abad 20, saya tertarik untuk menggali dua pertanyaan penelitian. Pertanyaan tersebut adalah 1) Dalam cakupan apa film noir Amerika menjadi ekstensi dari eksistensialisme? 2) Bagaimana semangat film noir masih terlihat dalam masyarakat Amerika modern? Dengan menguji eksistensialisme terutama dari sudut pandang Albert Camus, tesis ini berusaha mengungkap tingkat pesimisme, pengasingan, kekejaman, dan rasa frustrasi atas periode waktu tersebut seperti yang digambarkan dalam karakter utama film noir melalui analisis. Hasil penelitian ini menunjukan bahwa noir adalah gaya khusus yang sudah mengalami berbagai perubahan dari waktu ke waktu dan sudah membuat kontribusi signifikan kepada sastra dan budaya populer. Kata kunci: noir Amerika, sentiment Amerika, pengasingan, nihilisme, eksistensialisme. x PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN
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