The Middle of the World

Paper by Kathrina Andrzejewski.

The critically acclaimed film Moonlight (2016) by Barry Jenkins, is a coming of age story of an African American man who is dealing with coming to terms with his reality in an environment that might not accept him for who he truly is. It’s split into three chapters or phases; the first is him going through childhood, the second is his adolescence, and finally, his adulthood. Throughout the film we see many elements of mise-en-scene, such as the camera work and audio, that help beautifully portray the men in the film as masculine yet vulnerable, which is very raw and thought provoking. Barry Jenkins analyzes the internalized stereotypes that African Americans are masculine, heterosexual, and the comform to the deprivation of certain activities. Through the specific scene where his only father figure, Juan, teaches him how to swim in such an emotional and vulnerable space as the ocean, Chiron tackles those stereotypes by being able to find comfort within himself, in being himself unapologetically and vulnerably in that moment.

The scene at the ocean was such a pivotal moment for Chiron, as it is the closest that

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Noir’s Affinity for Femmes Fatales

Paper by Violet Mitchell.

The genre of 1940s American Film Noir is brimming with perplexing investigations, trans-Atlantic accents, ill-natured wrongdoers, seduction, murderous intentions, and Femmes Fatales. The perception of the feminine portrayal has been altered drastically throughout American cinema history, especially in the characterization of women in Film Noir. Inspired by German Expressionism, the genre American Film Noir is categorized as crime-fiction, “typically identified by a variety of thematic and stylistic conventions: unsettling or otherwise odd camera angles, the dramatic use of shadow and light, “hard-boiled” dialogue, settings that emphasize isolation and loneliness” (Skoble). Opposing the preconceived stereotype of 1940s American women being loyal, submissive, and empathetic, the Femmes Fatales illustrated on the silver screen were seductive, deceptive, and lethal. Noir women often took on the role of the Femme Fatale of “an extremely attractive woman who deliberately tries to lead men to their destruction” (Skoble). The Fatal Woman not only manipulates the men in her life, but in addition the path the narrative is to take. The role of Femme Fatale in Film-Noir played a significant role in 1940’s American cinema, inspiring a plethora of Femme Fatale archetypes in

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