Abstract
From the beginnings of film history, urban reality has been a focal point of film. Los Angeles, the film capital of the world, is no different. In this essay, I will explore how the history of Los Angeles influenced the socially critical ideological and high-contrast aesthetic elements of Film Noir. Through an analysis of Howard Hawks' 1946 The Big Sleep, Roman Polanski's 1974 Chinatown and Carl Franklin's 1995 Devil in a Blue Dress, I will explore the evolution of the representation of Los Angeles in film noir.
