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Strangers On A Train

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Strangers on a Train (1951), exemplifies many of the traits found in the film noir cycle. Its screenplay is credited to the remarkable hardboiled fiction writer Raymond Chandler who has also penned the screenplay for the landmark film noir Double Indemnity (1944). The hallmarks like a distinct visual style, melodramatic crime-centred narrative, and the femme-fatale all signal the genre of film noir (Debois n.pag). Film noir is primarily recognised by its visual pattern and thus we can begin the analysis of Strangers on a Train’s mis-en-scene, particularly its use of light and shadow. Shadows from Venetain blind sweep across Bruno’s face as he details his plans for murder early in the film. Low-key lighting invade most of the memorable

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