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A Neo Noir is a modern or adapted version of film noir, with updated themes, plot and visual/lighting techniques but drawing inspiration from the techniques or structures used in classic film noir.

Neo Noirs became more common in the 60s and 70s as Film Noir became a more niche genre, and noir influenced films became more common, causing critics to create a new genre.

The first iconic Neo Noir is considered to be the french new wave film Breathless, directed by Jean-Paul Belmondo. A significant neo noir is The Man Who Wasn't There in 2001, filmed in black and white and mimicking several of the traditional lighting and structural plots of film noir.

Another widely acknowledged and commercially popular is Christopher's Nolan Memento, exploring themes common in film noir such as mental illness, loss of memory, a mysterious killer and the protagonist ultimately becoming a criminal, additionally the ending involves the protagonist continuing to repeat the same actions unwittingly, 'getting away with it' similar to that of films like Detour.

Some other examples of Neo Noirs include American Psyco, Blade Runner and surprisingly The Big Lebowski. Although Critics have claimed that any film involving crimes and detectives is considered a neo noir, creating too large a genre.

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The classic era of film noir in the 1940s-50s, as the larger production companies padded out their releases with low budget B films, teaming up with german filmmakers.

The first film noir of the classic era , is considered to be The Maltese Falcon directed by John Husten and starring Humphrey Bogart, an iconic actor in the genre.

Some other examples of successful noirs of this era include Strangers on a Train, The Big Sleep and Double Indemnity.

In 1948 the American Supreme Court banned 'block booking' or selling multiple films to cinemas in one deal, causing companies to reduce the numbers of films they create each year, many B list films suffered from this, in particular Film Noir. Colour films also became more common and often preferable to modern audiences and the reduction in film, caused an significant increase in the television industry.

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Fritz Lang's M, shot in 1931 is believed to be the first film noir, as it was it was the first crime thriller film in german expressionism movement. It was also one of the first major crime films, created after the addition of audio to the film industry. It used many of the visual characteristics seen in both modern film noir and what is considered the 'golden age' of film noir. Lang used visual techniques like chiaroscuro is a number of his pieces, and is considered amongst the first directors to use such lighting styles. His pieces also often feature the typical protagonists featured in film noire; protagonists being criminals or not wholly good people, influenced by money and sex.

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Film Noir originated in 1920s and 30s Germany. This developed during the German expressionism era. This was brought over to American after the first war war, film directors fleeing Germany due to the extreme poverty, nazi movement and the holocaust, american cinema had not been influenced before by german expressionism due to the isolation of Germany during world war one.

Technology was also drastically improved by the great war, as cameras for documentaries were made to be better quality and more light sensitive, giving filmmakers of the time more freedom to work with lighting, greatly influencing the genre.

Chiaroscuro was often used in german expressionism, as the light created suspense and tension in the scene, so was brought over with german filmmakers and is used in film noir to this day.

The horrors seen in world war one also influenced the themes shown in film noir, up until that point themes of murder, crime and sex were considered 'taboo' or inappropriate.

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Film Noir, or Black Film,a french phrase meaning Black Film was first used by a french film critic Nino Frank in 1946, before this they were referred to as melodramas by american production companies and critics . The first Film Noirs were created in post world war Germany, and were picked up by american film production companies during the great depression, as B Films were cheaper and easier to produce with guaranteed profits at the time, which was more reliable for the major companies. The eerie setting and dark themes captured the mood of both America and Germany at these times, as both were suffering financial depressions and fighting in the world wars at the time.