Nuar

Nuar (talaffuzi: /nwɑːr/) — bu sinik munosabat va motivatsiyalarga urgʻu beradigan Gollivud kriminal drama filmlari hisoblanadi. 1940- va 1950-yillar odatda Amerika nuar filmlarning „klassik davri“ deb hisoblanadi. Ushbu davr nuar filmlari nemis ekspressionistik kinematografiyasiga borib taqaladigan bosiq, oq-qora vizual uslub bilan bogʻliq. Klassik nuarda aks etgan koʻplab prototipik hikoyalar va munosabatlar AQShda Buyuk depressiya davrida vujudga kelgan hamda nuar adabiyoti sifatida tanilgan detektiv adabiyotning „hardboiled“ maktabidan kelib chiqqan.

Nuar turli xil syujetlarni qamrab oladi; keng tarqalgan arxetipik bosh qahramonlar qatoriga xususiy izquvar („The Big Sleep“), fuqarolik kiyimidagi politsiya xodimi („The Big Heat“), keksa bokschi („The Set-Up“), omadsiz firibgar („Night and the City“), jinoyat olamiga jalb qilingan qonunga itoatkor fuqaro („Gun Crazy“), halokatli ayol („Gilda“) yoki shunchaki vaziyat qurboni („D. O.A.“) kiradi.

Fransuzchadan „qora film“ (soʻzma-soʻz) yoki „qorongʻu film“ (maʼnosi yaqinroq) deb tarjima qilinuvchi film nuar film atamasi ilk bor 1946-yilda fransuz tanqidchisi Nino Frank tomonidan Gollivud filmlariga nisbatan qoʻllangan, biroq oʻsha davrdagi aksariyat Amerika kino sanoati mutaxassislari buni tan olishmagan. Frank 1945-yilda asos solingan Fransiyaning „Série noire“ adabiy nashriyot tamgʻasidan ilhomlangan deb ishoniladi.

Kino tarixchilari va tanqidchilari bu toifani retrospektiv tarzda aniqlashgan. Ushbu tushuncha 1970-yillarda keng ommalashgunga qadar, koʻplab klassik nuar filmlar „melodramalar“ deb atalgan. Nuar alohida janr sifatida qaraladimi yoki uni shunchaki film yaratish uslubi deb hisoblash kerakmi — bu masala kino olimlari oʻrtasida davom etayotgan qizgʻin bahs-munozara mavzusidir.

Garchi nuar dastlab Amerika mahsulotlari bilan bogʻlangan boʻlsa-da, bu atama butun dunyodagi filmlarni tasvirlash uchun ishlatilgan. 1960-yillardan boshlab chiqarilgan koʻplab filmlar klassik davr nuarlari bilan umumiy xususiyatlarga ega va koʻpincha uning anʼanalariga oʻz-oʻziga havola tarzida yondashadi. Keyingi davr asarlari odatda neo-nuar deb ataladi. Nuarning klishelari 1940-yillarning oʻrtalaridan boshlab parodiyalarga ilhom berib kelgan.

Taʼrifi

Nuarni qanday taʼriflash va u qanday toifadagi film ekanligi haqidagi savol hamon bahslarga sabab boʻlib kelmoqda. „Nuar filmni tushsimon, gʻalati, erotik, ambivalent va shafqatsiz deb atash bilan biz vaziyatni haddan tashqari soddalashtirgan boʻlardik…“ — ushbu sifatlar majmuasi fransuz tanqidchilari Raymond Borde va Étienne Chaumeton tomonidan 1955-yilda nashr etilgan, mavzuning ilk va asosiy keng qamrovli tadqiqoti hisoblangan „Panorama du film noir américain 1941–1953“ („Amerika nuar filmi panoramasi“) kitobida nuarga taʼrif berishga boʻlgan koʻplab urinishlarning birinchisidir. Ular har bir nuar ushbu beshta sifatning barchasini bir xil darajada oʻzida mujassam etmasligini taʼkidlashadi — biri koʻproq tushsimon boʻlishi mumkin boʻlsa, boshqasi ayniqsa shafqatsiz boʻlishi mumkin. Mualliflarning shartlari va muqobil taʼriflar berishga boʻlgan takroriy urinishlari keyingi ilmiy ishlarda ham oʻz aksini topgan, ammo kino tarixchisi Mark Bouldning soʻzlariga koʻra, nuar filmi hamon „tutqich bermas hodisa“ boʻlib qolmoqda.

Nuar koʻpincha past darajali yoritish va muvozanatsiz kompozitsiyalarga urgʻu beradigan vizual uslub bilan aniqlansa-da, odatda nuar deb tasniflanadigan filmlar turli xil vizual yondashuvlarni, jumladan, Gollivudning asosiy yoʻnalishlariga mos keladiganlarini ham namoyish etadi. Nuar xuddi shunday turli janrlarni — gangsterlar haqidagi filmlardan tortib politsiya prosedurallari, gotik romanlar va ijtimoiy muammolarga bagʻishlangan filmlargacha qamrab oladi; hozirda nuarning klassik davri deb hisoblanadigan 1940 va 1950-yillarga oid ushbu janrlarning har qanday namunasi oʻsha paytda, ehtimol, melodrama deb taʼriflangan.

Koʻplab tanqidchilar nuarni oʻziga xos janr deb atasa-da, boshqalar uni bunday boʻlishi mumkin emasligini taʼkidlashadi. Foster Hirsch janrni „hikoya tuzilishi, xarakteristika, mavzu va vizual dizayn anʼanalari“ bilan belgilanadi deb taʼriflaydi. Nuarni janr deb hisoblovchi Hirsch ushbu elementlar unda „moʻl-koʻl“ ekanini taʼkidlaydi. Hirsch nuarni alohida janr sifatida tasniflash uchun yetarli boʻlgan ohang, vizual uslub va hikoya qilishning birlashtiruvchi xususiyatlari mavjudligini qayd etadi.

Adabiyotlar

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Havolalar

• Vikiomborda „Film noir“ mavzusi boʻyicha mediafayllar bor.
• Film Noir: A Bibliography of Materials (Wayback Machine saytida 2006-09-07 sanasida arxivlangan) and Film Videography (Wayback Machine saytida 2015-08-01 sanasida arxivlangan) holdings of the UC Berkeley Library
• Film Noir: An Introduction essay with links to discussions of ten important noirs; part of Images: A Journal of Film and Popular Culture
• Film Noir Studies writings by John Blaser, with film noir glossary, timeline, and noir-related media
• Kiss Me Deadly: Evidence of A Style (part 1) (Wayback Machine saytida 2019-02-12 sanasida arxivlangan) unrevised online version of essay by Alain Silver in three parts: (2) (Wayback Machine saytida 2019-02-12 sanasida arxivlangan) and (3) (Wayback Machine saytida 2019-02-12 sanasida arxivlangan)
• A Guide to Film Noir Genre (Wayback Machine saytida 2013-01-20 sanasida arxivlangan) ten deadeye bullet points from Roger Ebert
• An Introduction to Neo-Noir essay by Lee Horsley
• The Noir Thriller: Introduction excerpt from 2001 book by Lee Horsley
• What Is This Thing Called Noir?: Parts I, II (Wayback Machine saytida 2016-03-04 sanasida arxivlangan) and III (Wayback Machine saytida 2016-03-04 sanasida arxivlangan) essay by Alain Silver and Linda Brookover
• Arthur Lyons Film Noir Festival (Wayback Machine saytida 2012-09-26 sanasida arxivlangan), co-sponsored by the Palm Springs Cultural Center
• Noir and Neonoir | The Criterion Collection
• Notebook Primer: Film Noir
• Collection: "Film Noir, Visuality and Themes" (Wayback Machine saytida July 8, 2024, sanasida arxivlangan) from the University of Michigan Museum of Art