Horror noir

Beginning in the 1940s, a lot of early directors and producers of motion pictures debuted their works with a blend of noir and horror themes. One of these filmmakers was Val Lewton, who was also well-known and well-liked for his work in cinema, publishing noir horror flicks.[22][23] His role as a film producer was in The Seventh Victim[24] and The Leopard Man,[25] two films that combine multiple different film genres—horror, noir, black-and-white, mystery, drama, supernatural, and thriller—into one subtly marketed as a single category.

Jacques Tourneur, who was most known for his contributions to early horror films, collaborated with Lewton in producing and helming darkly themed horror films. Lewton was hired by RKO Pictures, a film production business, while Tourner was hired by Lewton. Both were employees of RKO Pictures.[26][27] Most of Tourner and Lewton's filmmaking efforts focused on creating ominous and subdued lighting environments, and this ultimately distinguished them as the top filmmaking team for their efforts in fusing noir and horror elements.

A director of photography who was well recognized for his contribution to the noir crime film The Locket and was a member of RKO Pictures' board of directors. In the middle of the 1900s, Musuraca, Lewton, and Tourner all collaborated at the same film studio to produce a number of negative and frightening genre pictures, including horror and crime mixed with romance, as well as providing a noirish touch.

An RKO Pictures member that oversaw the majority of the darkly toned horror films that the other members of the film crew hierarchy had contributed to. One of the directors of the noir horror film The Seventh Victim was Mark Robson. Val Lewton, who is referenced under the subheading "Val Lewton", was a person Robson knew and who he contacted to produce The Seventh Victim. Moreover, at Lewton's request, the individual who gave Robson's film crew its name transitioned to being a director.[28][29] He also directed the black-and-white crime and horror movies The Ghost Ship and Isle of the Dead, both of which Lewton also produced and co-wrote.[30][31]

A director of films who had won accolades for his work. He directed The Body Snatcher (which Val Lewton also produced), a film that was based on a fictional short story of the same name. Films by Robert Wise that primarily fall under the horror and noir genres—either as distinct genres or as a combination of both—are well known. For instance, The Body Snatcher, a horror film, has dim lighting, so everything is only seen in the dark or in black and white. Wise also worked on RKO Pictures, finishing the project just before the film's debut. The Body Snatcher is a "noir thriller with style",[32] and as such, it has a dark theme. Wise chose the color scheme specifically to match the horror and psychological genres of the movie and add an unnerving and unpleasant vibe by setting such occurrences in dark environments.

Hangover Square, a noir horror film directed by Brahm, was well-recognized. He was the director of a number of well-known horror and crime films with stories centered on romantically involved characters that show a point where one of the partners in the relationship turns strictly dangerous due to their love for the other. In Hangover Square, there are numerous bloody incidents that take place in a gloomy location, giving the plot a noirish horror-crime feel.[33]