Editing Film noir (section)

===Science fiction noir===
{{See also|Tech noir}}
[[File:BladeRunnerSS.jpg|thumb|alt=A man with close-cropped hair wearing a brown jacket sits at a counter, holding a pair of chopsticks poised over a rice bowl. Rain cascades down beside him as if from the edge of an awning. In the foreground is a teapot, several bottles, and other dining accessories. Steam or smoke rises from an unseen source. In the background, two standing men look down at the central figure. The goateed man on the left wears a dark snap-brim hat, a black coat with upturned collar, and a gold-trimmed vest. The man on the right, partly obscured by the steam, is wearing a constabulary-style uniform, featuring large wrap-around shades and a hat or helmet with a glossy, stiff brim. There is a bluish cast to the entire image.|[[Harrison Ford]] as detective Rick Deckard in ''[[Blade Runner]]'' (1982). Like many classic noirs, the film is set in a version of Los Angeles where it constantly rains.<ref>Hunter (1982), p. 197.</ref> The steam in the foreground is a familiar noir trope, while the "bluish-smoky exterior" updates the black-and-white mode.<ref>Kennedy (1982), p. 65.</ref>]]

In the post-classic era, a significant trend in noir crossovers has involved [[science fiction]]. In Jean-Luc Godard's ''[[Alphaville (film)|Alphaville]]'' (1965), Lemmy Caution is the name of the old-school private eye in the city of tomorrow. ''[[The Groundstar Conspiracy]]'' (1972) centers on another implacable investigator and an amnesiac named Welles. ''[[Soylent Green]]'' (1973), the first major American example, portrays a dystopian, near-future world via a noir detection plot; starring [[Charlton Heston]] (the lead in ''Touch of Evil''), it also features classic noir standbys Joseph Cotten, Edward G. Robinson, and [[Whit Bissell]]. The film was directed by [[Richard Fleischer]], who two decades before had directed several strong B noirs, including ''[[Armored Car Robbery]]'' (1950) and ''[[The Narrow Margin]]'' (1952).<ref>Downs (2002), pp. 171, 173.</ref>

The cynical and stylized perspective of classic film noir had a formative effect on the [[cyberpunk]] genre of science fiction that emerged in the early 1980s; the film most directly influential on cyberpunk was ''[[Blade Runner]]'' (1982), directed by [[Ridley Scott]], which pays evocative homage to the classic noir mode<ref>Ballinger and Graydon (2007), p. 242.</ref> (Scott subsequently directed the poignant 1987 noir crime melodrama ''[[Someone to Watch Over Me (film)|Someone to Watch Over Me]]''). Scholar Jamaluddin Bin Aziz has observed how "the shadow of [[Philip Marlowe]] lingers on" in such other "future noir" films as ''[[12 Monkeys]]'' (1995), ''[[Dark City (1998 film)|Dark City]]'' (1998) and ''[[Minority Report (film)|Minority Report]]'' (2002).<ref>Aziz (2005), section "Future Noir and Postmodernism: The Irony Begins". Ballinger and Graydon note "future noir" synonyms: "'cyber noir' but predominantly 'tech noir'" (p. 242).</ref> Fincher's feature debut was ''[[Alien 3]]'' (1992), which evoked the classic noir jail film ''[[Brute Force (1947 film)|Brute Force]]''.

David Cronenberg's ''[[Crash (1996 film)|Crash]]'' (1996), an adaptation of [[Crash (1973 novel)|the speculative novel]] by [[J. G. Ballard]], has been described as a "film noir in bruise tones".<ref>{{cite news|author=Dougherty, Robin |url=http://www.salon.com/march97/crash970321.html|title=Sleek Chrome + Bruised Thighs|work=Salon|date=1997-03-21|access-date=2009-09-29|archive-url=https://web.archive.org/web/20110123090727/http://www.salon.com/march97/crash970321.html|archive-date=2011-01-23}}</ref> The hero is the target of investigation in ''[[Gattaca]]'' (1997), which fuses film noir motifs with a scenario indebted to ''[[Brave New World]]''. ''[[The Thirteenth Floor]]'' (1999), like ''Blade Runner'', is an explicit homage to classic noir, in this case involving speculations about [[virtual reality]]. Science fiction, noir, and [[anime]] are brought together in the Japanese films of 90s ''[[Ghost in the Shell (1995 film)|Ghost in the Shell]]'' (1995) and ''[[Ghost in the Shell 2: Innocence]]'' (2004), both directed by [[Mamoru Oshii]].<ref name=bg234/> ''[[The Animatrix]]'' (2003), based on and set within the world of ''[[The Matrix (franchise)|The Matrix]]'' film trilogy, contains an anime short film in classic noir style titled "A Detective Story".<ref>{{cite news|url=https://www.nytimes.com/movies/movie/282083/The-Animatrix-A-Detective-Story/overview|archive-url=https://web.archive.org/web/20141129215154/http://www.nytimes.com/movies/movie/282083/The-Animatrix-A-Detective-Story/overview|url-status=dead|archive-date=2014-11-29|department=Movies & TV Dept.|work=[[The New York Times]]|author=Cammila Collar|date=2014|title=The Animatrix: A Detective Story (2003)|access-date=2014-03-26}}</ref> Anime television series with science fiction noir themes include ''[[Noir (anime)|Noir]]'' (2001)<ref name=bg234>Dargis (2004); Ballinger and Graydon (2007), p. 234.</ref> and ''[[Cowboy Bebop]]'' (1998).<ref>{{cite magazine|author=Jeffries, L. B. |url=https://www.popmatters.com/pm/feature/115481-the-film-noir-roots-of-cowboy-bebop|title=The Film Noir Roots of Cowboy Bebop|magazine=PopMatters|date=2010-01-19|access-date=2012-01-25}}</ref>

The 2015 film ''[[Ex Machina (film)|Ex Machina]]'' puts an understated film noir spin on the [[Frankenstein]] mythos, with the sentient [[android (robot)|android]] Ava as a potential ''femme fatale'', her creator Nathan embodying the abusive husband or father trope, and her would-be rescuer Caleb as a "clueless drifter" enthralled by Ava.<ref>{{cite web|author=Matt Zoller Seitz|url=https://www.rogerebert.com/reviews/ex-machina-2015|title=Ex Machina|publisher=rogerebert.com|date=2015-04-09|access-date=2015-06-03|archive-date=2015-04-12|archive-url=https://web.archive.org/web/20150412001200/https://www.rogerebert.com/reviews/ex-machina-2015|url-status=live}}</ref>

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