Chaos Cinema: The decline and fall of action filmmaking (Full Version)

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Filmfan 2 -> Chaos Cinema: The decline and fall of action filmmaking (14/8/2012 2:23:23 PM)

This may have already been posted and discussed before, but I thought peeps might find this article interesting. It concerns the visual style of modern action movies and how measured camerawork, editing, etc have all gone out of the window as filmmakers attempt to, as Michael Bay so succinctly put it, fuck the frame.

Chaos cinema





Whistler -> RE: Chaos Cinema: The decline and fall of action filmmaking (14/8/2012 3:02:07 PM)

Good article, and it is a shame the direction most action films have taken. One of the reasons I loved The Raid so much was because you could actually see what was happening on the screen, it wasn't just a collection of punching noises.




dolfinack -> RE: Chaos Cinema: The decline and fall of action filmmaking (16/8/2012 2:53:23 PM)

Shakycam and superquick one-second-cuts. Pathetic.




UTB -> RE: Chaos Cinema: The decline and fall of action filmmaking (16/8/2012 9:16:52 PM)

Interesting...

quote:

To be fair, the techniques of chaos cinema can be used intelligently and with a sense of purpose. Case in point: Kathryn Bigelow's The Hurt Locker. The film uses chaotic style pointedly and sparingly, to suggest the hyper-intensity of the characters’ combat experience and the professional warrior’s live-wire awareness of the lethal world that surrounds him. Bigelow immerses viewers in the protagonists’ perspectives, yet equally grants them a detached point of view. The film achieves a perfect harmony of story, action and viewer involvement.


This is exactly what some people thought of Quantum Of Solace (was even discussed in the last couple of weeks in the future Bond thread) which is mentioned as being one of the films where the sound makes up for it.




Deviation -> RE: Chaos Cinema: The decline and fall of action filmmaking (16/8/2012 9:22:05 PM)

Meh, there's always some quality action films from Asia. With less shakey-cam.




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