COMM 452 Week 6 response Out of the Past

COMM 452 Week 6 response Out of the Past - Tahoe in Out of...

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Jake Unger 2/18/10 Film Noir: Week 6 - Out of the Past Although both the Harvey and Grist articles do not comment on the role of Latin America (Acapulco) in Out of the Past , I find it a fascinating aspect of the film noir genre. The Latin American landscape has played a fundamental role as a symbolic land of, “relief from repression…bright guilty place…desire for romance and freedom” (Naremore 220-232), in both Gilda and Out of the Past , as it is an exotic escape, where romance and desire lurk. Furthermore, as Naremore point out Phyllis of Double Indemnity ’s perfume is from a Latin American country, and as I remember, she lived in a Spanish-style house, that were once popular as Walter Neff states. This connection between Latin America and some sort of sexual desire is fascinating to me as it creates the idea that Latin America is almost an escape from reality. I found it interesting in the Harvey article how he compares the country to the city/lake
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Unformatted text preview: Tahoe in Out of the Past , but fails to include Latin America in his comparison. His comparison is essentially like that of all film noirs we have seen to date, where the country is the good homely place, and the city is a place of sin and vice. Interesting that he leaves out Latin America in this description, as Acapulco serves as both an escape from the city, but also embodies some of the sin of the city depicted in Out of the Past . In my opinion, unlike the country which is normally always “good” in film noirs and the city is always “evil,” to use the words loosely, Acapulco changes as the situation changes in the film. In the beginning where Jeff becomes enamored with Cathie, minus the bar scene, Acapulco seems to be quite homely and a getaway from the city as the country is. However, once Witt arrives and brings eventual imminent disaster with him the Acapulco turns more into the evil city area represented commonly in film noir....
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