Öz

The term noir is mostly mediated as a cinematographic concept in art history. The term noir, known as Film Noir stands out as a definition used for the dark atmosphere and crime-oriented films of Hollywood origin, covering the period of 1940-50. In fact it appears in different periods and styles of art history, both in terms of formal features and contextual features. Beyond the existence of black in terms of cultural history, it is first seen as an essential pictorial element in the art of painting, in the light-shadow contrast; later in the Romanticism and Symbolism movement. It stands out as a very important plastic instrument in terms of stripping away its formal features and creating a general compositional atmosphere. At this point, the use of black ceases to be a color and begins to create a kind of atmospheric effect that creates a compositional aura. The emergence of productions with the mentioned influence, especially from the 19th century to the mid-20th century is related to the position of the term noir in revealing the formation of psyhcologically effective atmosphere rather than just being a formal element. Another area where black appears with this effect is cinema. In the history of cinema, examples where black is used as a formal element in creating atmosphere can be seen in both Europe and Russia at the beginning of the 20th century. This study aims to discuss the concept of noir in terms of some examples that make you feel the effect of black both in the field painting and cinema. The selected examples aim to convey the dimensions of the artistic effect created by blackness, based on the works in which the noir-influenced compositional atmosphere is felt most clearly. The study will reveal the aforementioned atmospheric effect of black by focusing on a comparative transfer through art history-cinema disciplines.