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The Third Man

on Film Noir & The American Tradition

by Michael James

23 hours, 59 minutes ago

"The Third Man" advanced the genre of film noir at the cost of jarring viewers at first. The music was curious in how there was only one instruments and its mood usually contradicted the on screen action. The […]

The ExCollege courses I've taken at Tufts

on ExChange

by Grace Segers

1 day, 1 hour ago

I have been at Tufts for four semesters, and I've taken three ExCollege classes during that time. The first was my Perspectives class, Superheroes in the Media, which introduced me to the wonderful world of the […]

UEP Colloquium: Planners, Policy-Makers and #BlackLivesMatter

on Practical Visions

by Benjamin D. Baldwin

1 day, 2 hours ago

Following Wednesday's Forum on Race, Inequality and Action, in which the university took an academic approach to engage the community and create a better understanding of issues surrounding the Mike Brown and Eric […]

Do Women Dislike Drone Strikes More Than Other Types of Airstrikes?  (yes, but only a little)

on Ike's World of Polls from Tufts

by Richard Eichenberg

1 day, 4 hours ago

Surveys in many countries show very large gender differences in approval of strikes by pilot less drones. For example, in June 2013, the German Marshall Fund Transatlantic Trends survey asked the following […]

Out of the Past

on Film Noir & The American Tradition

by Michael James

1 day, 5 hours ago

Unlike the previous movies we've seen, this movie starts in eastern California. It begins in the town of Bridgeport, nestled between stunning mountains and lakes. The other movies all took place in the city, which puts "Out of the Past" as the outsider. The presence of a scenic view is a striking change from all prior movies in the genre. It represented a beginning shift in film noir away from taking place only in either Los Angeles or San Francisco. Taking note of the scenery shows that the complex film noir plot can take place elsewhere. The title screen, the first shots the viewer sees immediately gives notice that this isn't "Double Indemnity" or "Murder my Sweet". It begins outside—outside of the city and outside of what the film noir viewer is used to. Yet, despite this change, the plot twists itself creating the essential film noir characters. Amidst beautiful scenes of Mexico and short stints in San Francisco, the femme fatale and the ambiguous hero develop into what the movie-goer paid to see. The scenery is ever-present in the movie. It provides a backdrop and the occasional conversation starter for characters. The background make the place seem stuck in time. The geology seems to be without a sense of time: it could go forever without losing its beauty. The scenery shows that even in a place that seems stuck in the past, can have the melodrama of film noir.