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Many of the prototypical stories and much of the attitude of classic noir derive from the hardboiled school of crime fiction that emerged in the United States during the Great Depression.

The term film noir, French for "black film" (literal) or "dark film" (closer meaning), were referred to as "melodramas".

The commercial and critical success of Sternberg's silent Underworld (1927) was largely responsible for spurring a trend of Hollywood gangster films.

Successful films in that genre such as Little Caesar (1931), The Public Enemy (1931) and Scarface (1932) demonstrated that there was an audience for crime dramas with morally reprehensible protagonists.

Along with neorealism, the style had an American precedent cited by Dassin, in director Henry Hathaway's The House on 92nd Street (1945), which demonstrated the parallel influence of the cinematic newsreel.

Film noir of this era is associated with a low-key, black-and-white visual style that has roots in German Expressionist cinematography.

The aesthetics of film noir are influenced by German Expressionism, an artistic movement of the 1910s and 1920s that involved theater, photography, painting, sculpture and architecture, as well as cinema.

The opportunities offered by the booming Hollywood film industry and then the threat of Nazism, led to the emigration of many film artists working in Germany who had been involved in the Expressionist movement or studied with its practitioners.

M (Fritz Lang 1931), shot only a few years before his departure from Germany, is among the first crime films of the sound era to join a characteristically noirish visual style with a noir-type plot, in which the protagonist is a criminal (as are his most successful pursuers).

Directors such as Lang, Robert Siodmak and Michael Curtiz brought a dramatically shadowed lighting style and a psychologically expressive approach to visual composition (mise-en-scène), with them to Hollywood, where they made some of the most famous classic noirs.