@mytechtoday/augment-extensions 0.7.0 → 1.2.0

package/augment-extensions/writing-standards/screenplay/genres/rules/noir.md

@@ -1,294 +1,294 @@
-# Film Noir Genre
-
-**Category**: Screenplay Genre  
-**Type**: Primary  
-**Complexity**: High
-
-## Overview
-
-Film noir is a dark, cynical crime genre characterized by moral ambiguity, fatalism, and distinctive visual style. The genre emphasizes flawed protagonists, femme fatales, and urban corruption.
-
-## Core Concept
-
-Noir screenplays explore the dark side of human nature through crime stories featuring morally compromised protagonists in corrupt worlds. Success depends on creating atmosphere of doom and moral ambiguity, complex plotting with twists, and distinctive visual and dialogue style. Great noir reveals that everyone is capable of darkness and that fate is often inescapable.
-
-## Core Rules
-
-### Rule 1: Moral Ambiguity is Essential
-
-**Description**: Protagonist should be flawed, morally compromised, or drawn into darkness. No clear heroes or villains.
-
-**Why It Matters**: Noir explores gray areas. Clear morality undermines the genre's cynical worldview.
-
-**Examples**:
-- ✅ **Good**: Detective who bends rules, criminal with code, ordinary person corrupted
-- ❌ **Bad**: Purely heroic protagonist fighting pure evil
-
-**Film Reference**: Chinatown (1974) - Jake Gittes is flawed, and truth doesn't bring justice.
-
----
-
-### Rule 2: Fatalism and Doom
-
-**Description**: Sense that protagonist is trapped by fate, past, or circumstances. Outcomes often tragic or pyrrhic.
-
-**Why It Matters**: Noir is pessimistic. The world is corrupt and individuals are powerless against larger forces.
-
-**Examples**:
-- ✅ **Good**: Protagonist's choices lead to inevitable doom, past catches up
-- ❌ **Bad**: Happy ending where good triumphs and justice prevails
-
-**Film Reference**: Double Indemnity (1944) - Protagonist narrates his own doom from the beginning.
-
----
-
-### Rule 3: The Femme Fatale (or Homme Fatal)
-
-**Description**: Seductive, dangerous character who lures protagonist into moral compromise or destruction.
-
-**Why It Matters**: Sexual attraction as path to doom is noir archetype. Desire leads to destruction.
-
-**Examples**:
-- ✅ **Good**: Mysterious, alluring character with hidden agenda who manipulates protagonist
-- ❌ **Bad**: Straightforward love interest with no moral complexity
-
-**Film Reference**: Body Heat (1981) - Matty Walker manipulates protagonist into murder.
-
----
-
-### Rule 4: Urban Corruption and Decay
-
-**Description**: Setting should reflect moral decay - corrupt cities, seedy locations, institutional rot.
-
-**Why It Matters**: Environment reflects and reinforces noir's cynical worldview.
-
-**Examples**:
-- ✅ **Good**: Corrupt police, crooked politicians, decaying urban landscape
-- ❌ **Bad**: Pristine settings with functional institutions
-
-**Film Reference**: L.A. Confidential (1997) - Corruption throughout LAPD and city government.
-
----
-
-### Rule 5: Distinctive Visual and Dialogue Style
-
-**Description**: High-contrast lighting, shadows, rain-slicked streets, hard-boiled dialogue, voiceover narration.
-
-**Why It Matters**: Noir has specific aesthetic that creates atmosphere and tone.
-
-**Examples**:
-- ✅ **Good**: Chiaroscuro lighting, cynical voiceover, snappy hard-boiled dialogue
-- ❌ **Bad**: Flat lighting, earnest dialogue, no stylistic flair
-
-**Film Reference**: Blade Runner (1982) - Neo-noir with distinctive visual style and voiceover.
-
----
-
-## Guidelines
-
-### Structure
-
-- **Act I**: Protagonist introduced in their world, femme fatale or case appears, protagonist drawn into darkness
-- **Act II**: Investigation or scheme deepens, moral compromises escalate, past revealed, web tightens
-- **Act III**: Truth revealed (often devastating), confrontation, tragic or pyrrhic resolution
-
-### Pacing
-
-- Deliberate, moody pacing
-- Complex plotting with revelations
-- Build sense of doom and inevitability
-- Flashbacks common
-- Climax often violent and tragic
-
-### Character Archetypes
-
-- **Protagonist**: Cynical detective, criminal, or ordinary person corrupted
-- **Femme Fatale**: Seductive, dangerous woman (or homme fatal)
-- **Antagonist**: Corrupt powerful figure, or fate itself
-- **Supporting**: Corrupt cops, informants, victims
-
-### Tone and Atmosphere
-
-- Cynical, pessimistic, fatalistic
-- Moral ambiguity and corruption
-- Sexual tension and danger
-- Urban alienation and decay
-- Doom and inevitability
-
-### Visual Style
-
-- High-contrast lighting (chiaroscuro)
-- Shadows and darkness
-- Rain, fog, night scenes
-- Dutch angles and unusual framing
-- Urban decay and neon
-
-### Dialogue
-
-- Hard-boiled, cynical
-- Snappy, witty exchanges
-- Voiceover narration (often)
-- Subtext and double meanings
-- Fatalistic observations
-
-## Common Pitfalls
-
-### Pitfall 1: Style Without Substance
-
-**Problem**: Copying noir aesthetics without understanding the moral and thematic darkness.
-
-**Solution**: Noir is about moral ambiguity and fatalism, not just shadows and trench coats.
-
-**Example**: Brick (2005) - High school noir that understands genre's themes, not just style.
-
----
-
-### Pitfall 2: Clear Morality
-
-**Problem**: Obvious heroes and villains, justice prevailing, happy endings.
-
-**Solution**: Embrace moral complexity, ambiguous outcomes, and cynical worldview.
-
-**Example**: The Third Man (1949) - Protagonist's friend is villain, and friendship doesn't save him.
-
----
-
-### Pitfall 3: Forgetting the Plot
-
-**Problem**: So focused on atmosphere and style that plot becomes incoherent or secondary.
-
-**Solution**: Noir needs complex but followable plotting. Style serves story, not replaces it.
-
-**Example**: The Big Sleep (1946) - Complex plot but character and atmosphere carry it.
-
----
-
-## Film Examples
-
-### Example 1: Double Indemnity (1944)
-
-**Director**: Billy Wilder
-
-**Why It Works**: Classic noir with insurance fraud, murder, and femme fatale. Doomed from the start.
-
-**Key Scenes**:
-- **Opening Narration**: Protagonist confesses his doom
-- **First Meeting**: Phyllis seduces Walter into murder plot
-- **"I killed him for money and a woman. I didn't get the money and I didn't get the woman"**: Noir fatalism
-
-**Techniques Used**:
-- Voiceover narration from doomed protagonist
-- Venetian blind shadows (iconic noir lighting)
-- Femme fatale manipulation
-- Inevitable doom despite intelligence
-
----
-
-### Example 2: Chinatown (1974)
-
-**Director**: Roman Polanski
-
-**Why It Works**: Neo-noir masterpiece. Corruption, incest, and powerlessness. Truth doesn't bring justice.
-
-**Key Scenes**:
-- **"Forget it, Jake. It's Chinatown"**: Acceptance of corruption and powerlessness
-- **Nose Slashing**: Violence and danger escalate
-- **Tragic Ending**: Villain wins, innocent dies
-
-**Techniques Used**:
-- 1930s LA corruption and water rights
-- Protagonist uncovers truth but can't stop evil
-- Tragic ending where power wins
-- Moral complexity and institutional rot
-
----
-
-### Example 3: Blade Runner (1982)
-
-**Director**: Ridley Scott
-
-**Why It Works**: Sci-fi noir with replicants, identity, and urban decay. Philosophical and atmospheric.
-
-**Key Scenes**:
-- **"Tears in Rain"**: Replicant's humanity and mortality
-- **Voight-Kampff Test**: What makes us human?
-- **Rain-Soaked Streets**: Noir atmosphere in future setting
-
-**Techniques Used**:
-- Neo-noir in sci-fi setting
-- Voiceover narration (original cut)
-- High-contrast lighting and rain
-- Moral ambiguity about humanity
-
----
-
-### Example 4: L.A. Confidential (1997)
-
-**Director**: Curtis Hanson
-
-**Why It Works**: 1950s LA police corruption. Multiple protagonists with different moral codes.
-
-**Key Scenes**:
-- **"Rollo Tomasi"**: Personal justice and revenge
-- **Interrogation Room**: Police brutality and corruption
-- **Shootout**: Corruption exposed but not fully defeated
-
-**Techniques Used**:
-- Period noir with modern sensibility
-- Multiple flawed protagonists
-- Institutional corruption throughout
-- Partial victory but system remains corrupt
-
----
-
-## Integration with Other Features
-
-### Compatible Themes
-
-- **Corruption**: Institutional and personal rot
-- **Fate and Doom**: Inescapable consequences
-- **Greed**: Money as corrupting force
-- **Betrayal**: Trust destroyed
-- **Moral Ambiguity**: No clear right and wrong
-
-### Compatible Styles
-
-- **Classic Noir**: 1940s-50s black and white (Double Indemnity, The Maltese Falcon)
-- **Neo-Noir**: Modern settings with noir themes (Chinatown, L.A. Confidential)
-- **Tech Noir**: Sci-fi noir (Blade Runner, Dark City)
-- **Noir Comedy**: Dark humor (The Big Lebowski, Kiss Kiss Bang Bang)
-
-### Hybrid Combinations
-
-- **Noir + Thriller**: Suspenseful crime (Gone Girl, Nightcrawler)
-- **Noir + Sci-Fi**: Future dystopias (Blade Runner, Minority Report)
-- **Noir + Western**: Frontier corruption (No Country for Old Men, Hell or High Water)
-- **Noir + Horror**: Dark supernatural (Angel Heart, The Ninth Gate)
-
-## Best Practices
-
-1. **Moral Ambiguity**: No clear heroes or villains
-2. **Fatalism**: Sense of doom and inevitability
-3. **Femme Fatale**: Seduction leading to destruction
-4. **Urban Corruption**: Decaying cities and institutions
-5. **Visual Style**: High-contrast lighting, shadows, rain
-6. **Hard-Boiled Dialogue**: Cynical, snappy exchanges
-7. **Voiceover**: Often used for fatalistic narration
-8. **Complex Plot**: Twists and revelations
-9. **Tragic Endings**: Doom, death, or pyrrhic victories
-10. **Atmosphere**: Mood as important as plot
-
-## Resources
-
-- "Film Noir: An Encyclopedic Reference" by Alain Silver and Elizabeth Ward
-- "More Than Night: Film Noir in Its Contexts" by James Naremore
-- "Chinatown" screenplay by Robert Towne - Neo-noir masterclass
-- "Double Indemnity" screenplay by Billy Wilder and Raymond Chandler
-- Raymond Chandler and Dashiell Hammett novels - Hard-boiled source material
-
----
-
-**Depth Coverage**: 85%
-**Last Updated**: 2026-01-31
-**Version**: 1.0.0
-
+# Film Noir Genre
+
+**Category**: Screenplay Genre  
+**Type**: Primary  
+**Complexity**: High
+
+## Overview
+
+Film noir is a dark, cynical crime genre characterized by moral ambiguity, fatalism, and distinctive visual style. The genre emphasizes flawed protagonists, femme fatales, and urban corruption.
+
+## Core Concept
+
+Noir screenplays explore the dark side of human nature through crime stories featuring morally compromised protagonists in corrupt worlds. Success depends on creating atmosphere of doom and moral ambiguity, complex plotting with twists, and distinctive visual and dialogue style. Great noir reveals that everyone is capable of darkness and that fate is often inescapable.
+
+## Core Rules
+
+### Rule 1: Moral Ambiguity is Essential
+
+**Description**: Protagonist should be flawed, morally compromised, or drawn into darkness. No clear heroes or villains.
+
+**Why It Matters**: Noir explores gray areas. Clear morality undermines the genre's cynical worldview.
+
+**Examples**:
+- ✅ **Good**: Detective who bends rules, criminal with code, ordinary person corrupted
+- ❌ **Bad**: Purely heroic protagonist fighting pure evil
+
+**Film Reference**: Chinatown (1974) - Jake Gittes is flawed, and truth doesn't bring justice.
+
+---
+
+### Rule 2: Fatalism and Doom
+
+**Description**: Sense that protagonist is trapped by fate, past, or circumstances. Outcomes often tragic or pyrrhic.
+
+**Why It Matters**: Noir is pessimistic. The world is corrupt and individuals are powerless against larger forces.
+
+**Examples**:
+- ✅ **Good**: Protagonist's choices lead to inevitable doom, past catches up
+- ❌ **Bad**: Happy ending where good triumphs and justice prevails
+
+**Film Reference**: Double Indemnity (1944) - Protagonist narrates his own doom from the beginning.
+
+---
+
+### Rule 3: The Femme Fatale (or Homme Fatal)
+
+**Description**: Seductive, dangerous character who lures protagonist into moral compromise or destruction.
+
+**Why It Matters**: Sexual attraction as path to doom is noir archetype. Desire leads to destruction.
+
+**Examples**:
+- ✅ **Good**: Mysterious, alluring character with hidden agenda who manipulates protagonist
+- ❌ **Bad**: Straightforward love interest with no moral complexity
+
+**Film Reference**: Body Heat (1981) - Matty Walker manipulates protagonist into murder.
+
+---
+
+### Rule 4: Urban Corruption and Decay
+
+**Description**: Setting should reflect moral decay - corrupt cities, seedy locations, institutional rot.
+
+**Why It Matters**: Environment reflects and reinforces noir's cynical worldview.
+
+**Examples**:
+- ✅ **Good**: Corrupt police, crooked politicians, decaying urban landscape
+- ❌ **Bad**: Pristine settings with functional institutions
+
+**Film Reference**: L.A. Confidential (1997) - Corruption throughout LAPD and city government.
+
+---
+
+### Rule 5: Distinctive Visual and Dialogue Style
+
+**Description**: High-contrast lighting, shadows, rain-slicked streets, hard-boiled dialogue, voiceover narration.
+
+**Why It Matters**: Noir has specific aesthetic that creates atmosphere and tone.
+
+**Examples**:
+- ✅ **Good**: Chiaroscuro lighting, cynical voiceover, snappy hard-boiled dialogue
+- ❌ **Bad**: Flat lighting, earnest dialogue, no stylistic flair
+
+**Film Reference**: Blade Runner (1982) - Neo-noir with distinctive visual style and voiceover.
+
+---
+
+## Guidelines
+
+### Structure
+
+- **Act I**: Protagonist introduced in their world, femme fatale or case appears, protagonist drawn into darkness
+- **Act II**: Investigation or scheme deepens, moral compromises escalate, past revealed, web tightens
+- **Act III**: Truth revealed (often devastating), confrontation, tragic or pyrrhic resolution
+
+### Pacing
+
+- Deliberate, moody pacing
+- Complex plotting with revelations
+- Build sense of doom and inevitability
+- Flashbacks common
+- Climax often violent and tragic
+
+### Character Archetypes
+
+- **Protagonist**: Cynical detective, criminal, or ordinary person corrupted
+- **Femme Fatale**: Seductive, dangerous woman (or homme fatal)
+- **Antagonist**: Corrupt powerful figure, or fate itself
+- **Supporting**: Corrupt cops, informants, victims
+
+### Tone and Atmosphere
+
+- Cynical, pessimistic, fatalistic
+- Moral ambiguity and corruption
+- Sexual tension and danger
+- Urban alienation and decay
+- Doom and inevitability
+
+### Visual Style
+
+- High-contrast lighting (chiaroscuro)
+- Shadows and darkness
+- Rain, fog, night scenes
+- Dutch angles and unusual framing
+- Urban decay and neon
+
+### Dialogue
+
+- Hard-boiled, cynical
+- Snappy, witty exchanges
+- Voiceover narration (often)
+- Subtext and double meanings
+- Fatalistic observations
+
+## Common Pitfalls
+
+### Pitfall 1: Style Without Substance
+
+**Problem**: Copying noir aesthetics without understanding the moral and thematic darkness.
+
+**Solution**: Noir is about moral ambiguity and fatalism, not just shadows and trench coats.
+
+**Example**: Brick (2005) - High school noir that understands genre's themes, not just style.
+
+---
+
+### Pitfall 2: Clear Morality
+
+**Problem**: Obvious heroes and villains, justice prevailing, happy endings.
+
+**Solution**: Embrace moral complexity, ambiguous outcomes, and cynical worldview.
+
+**Example**: The Third Man (1949) - Protagonist's friend is villain, and friendship doesn't save him.
+
+---
+
+### Pitfall 3: Forgetting the Plot
+
+**Problem**: So focused on atmosphere and style that plot becomes incoherent or secondary.
+
+**Solution**: Noir needs complex but followable plotting. Style serves story, not replaces it.
+
+**Example**: The Big Sleep (1946) - Complex plot but character and atmosphere carry it.
+
+---
+
+## Film Examples
+
+### Example 1: Double Indemnity (1944)
+
+**Director**: Billy Wilder
+
+**Why It Works**: Classic noir with insurance fraud, murder, and femme fatale. Doomed from the start.
+
+**Key Scenes**:
+- **Opening Narration**: Protagonist confesses his doom
+- **First Meeting**: Phyllis seduces Walter into murder plot
+- **"I killed him for money and a woman. I didn't get the money and I didn't get the woman"**: Noir fatalism
+
+**Techniques Used**:
+- Voiceover narration from doomed protagonist
+- Venetian blind shadows (iconic noir lighting)
+- Femme fatale manipulation
+- Inevitable doom despite intelligence
+
+---
+
+### Example 2: Chinatown (1974)
+
+**Director**: Roman Polanski
+
+**Why It Works**: Neo-noir masterpiece. Corruption, incest, and powerlessness. Truth doesn't bring justice.
+
+**Key Scenes**:
+- **"Forget it, Jake. It's Chinatown"**: Acceptance of corruption and powerlessness
+- **Nose Slashing**: Violence and danger escalate
+- **Tragic Ending**: Villain wins, innocent dies
+
+**Techniques Used**:
+- 1930s LA corruption and water rights
+- Protagonist uncovers truth but can't stop evil
+- Tragic ending where power wins
+- Moral complexity and institutional rot
+
+---
+
+### Example 3: Blade Runner (1982)
+
+**Director**: Ridley Scott
+
+**Why It Works**: Sci-fi noir with replicants, identity, and urban decay. Philosophical and atmospheric.
+
+**Key Scenes**:
+- **"Tears in Rain"**: Replicant's humanity and mortality
+- **Voight-Kampff Test**: What makes us human?
+- **Rain-Soaked Streets**: Noir atmosphere in future setting
+
+**Techniques Used**:
+- Neo-noir in sci-fi setting
+- Voiceover narration (original cut)
+- High-contrast lighting and rain
+- Moral ambiguity about humanity
+
+---
+
+### Example 4: L.A. Confidential (1997)
+
+**Director**: Curtis Hanson
+
+**Why It Works**: 1950s LA police corruption. Multiple protagonists with different moral codes.
+
+**Key Scenes**:
+- **"Rollo Tomasi"**: Personal justice and revenge
+- **Interrogation Room**: Police brutality and corruption
+- **Shootout**: Corruption exposed but not fully defeated
+
+**Techniques Used**:
+- Period noir with modern sensibility
+- Multiple flawed protagonists
+- Institutional corruption throughout
+- Partial victory but system remains corrupt
+
+---
+
+## Integration with Other Features
+
+### Compatible Themes
+
+- **Corruption**: Institutional and personal rot
+- **Fate and Doom**: Inescapable consequences
+- **Greed**: Money as corrupting force
+- **Betrayal**: Trust destroyed
+- **Moral Ambiguity**: No clear right and wrong
+
+### Compatible Styles
+
+- **Classic Noir**: 1940s-50s black and white (Double Indemnity, The Maltese Falcon)
+- **Neo-Noir**: Modern settings with noir themes (Chinatown, L.A. Confidential)
+- **Tech Noir**: Sci-fi noir (Blade Runner, Dark City)
+- **Noir Comedy**: Dark humor (The Big Lebowski, Kiss Kiss Bang Bang)
+
+### Hybrid Combinations
+
+- **Noir + Thriller**: Suspenseful crime (Gone Girl, Nightcrawler)
+- **Noir + Sci-Fi**: Future dystopias (Blade Runner, Minority Report)
+- **Noir + Western**: Frontier corruption (No Country for Old Men, Hell or High Water)
+- **Noir + Horror**: Dark supernatural (Angel Heart, The Ninth Gate)
+
+## Best Practices
+
+1. **Moral Ambiguity**: No clear heroes or villains
+2. **Fatalism**: Sense of doom and inevitability
+3. **Femme Fatale**: Seduction leading to destruction
+4. **Urban Corruption**: Decaying cities and institutions
+5. **Visual Style**: High-contrast lighting, shadows, rain
+6. **Hard-Boiled Dialogue**: Cynical, snappy exchanges
+7. **Voiceover**: Often used for fatalistic narration
+8. **Complex Plot**: Twists and revelations
+9. **Tragic Endings**: Doom, death, or pyrrhic victories
+10. **Atmosphere**: Mood as important as plot
+
+## Resources
+
+- "Film Noir: An Encyclopedic Reference" by Alain Silver and Elizabeth Ward
+- "More Than Night: Film Noir in Its Contexts" by James Naremore
+- "Chinatown" screenplay by Robert Towne - Neo-noir masterclass
+- "Double Indemnity" screenplay by Billy Wilder and Raymond Chandler
+- Raymond Chandler and Dashiell Hammett novels - Hard-boiled source material
+
+---
+
+**Depth Coverage**: 85%
+**Last Updated**: 2026-01-31
+**Version**: 1.0.0
+