This essay argues that The Crow, a film often overlooked in critical theory, can in fact be categorised as a neo-noir. It fits into Cawelti's fourth stage of generic transformation in film noir (Affirmation). It is aware of noir generic conventions and exploits them for maximum stylistic, narrative and thematic effect, while adapting them to a new and contemporary setting.
Films cross-referenced include:
Chinatown
Blue Velvet
Bladerunner
Taxi Driver
The Naked City
The Locket
Vertigo
LA Confidential
For a list of academic works cited, see Bibliography
This essay received a mark of 90%.
