free ebooks ==> www.ebook777.com www.ebook777.com free ebooks ==> www.ebook777.com The Orientation of Future Cinema free ebooks ==> www.ebook777.com www.ebook777.com free ebooks ==> www.ebook777.com The Orientation of Future Cinema Technology, Aesthetics, Spectacle BRUCE ISAACS free ebooks ==> www.ebook777.com Bloomsbury Academic An imprint of Bloomsbury Publishing Plc 175 Fifth Avenue New York NY 10010 USA 50 Bedford Square London WC1B 3DP UK www.bloomsbury.com First published 2013 © Bruce Isaacs, 2013 All rights reserved No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury Academic or the author Library of Congress Cataloging-in-Publication Data Isaacs, Bruce The orientation of future cinema : technology, aesthetics, spectacle / by Bruce Isaacs p cm ISBN 978-1-4411-8422-1 (hardcover : alk paper) Motion picture industry Technological innovations Motion pictures Aesthetics Digital media Influence I Title PN1995.9.T43I83 2013 791.4301 dc23 2012033532 ISBN 9781441184221 2012045678 ISBN: 978-1-6235-6913-6 Typeset by Fakenham Prepress Solutions, Fakenham, Norfolk NR21 8NN www.ebook777.com free ebooks ==> www.ebook777.com Contents Acknowledgements  ix PART ONE  The age of late cinema 1 On cinematic experience  Early and late cinema  Old and new technologies of the image  Image as itinerary: The image of reality and the synthetic image  The image of reality and the synthetic image in concert  17 The digital image  24 On the function of theory  31 Theoretical trajectories in the age of late cinema: Time and space  39 The unfortunate burden of time  39 The potential distraction of time  51 Charlie Kaufman, Eternal Sunshine of the Spotless Mind, and cinema’s spatialities  54 Conclusion  59 The autonomous image of cinema  61 The image as object in reproduction  61 The narrative image and the image-in-itself  65 Action cinema; the image of attraction; The Road Warrior  71 The close-up, and Sergio Leone  79 The sound image in reproduction: The Conversation  85 The Conversation: ‘He’d kill us if he got the chance’  91 The Conversation: The autonomous image of sound  93 Not a still, but a restless frame  95 free ebooks ==> www.ebook777.com vi Contents Requiem for a Dream: Random thoughts on the frame (10th minute)  96 Requiem for a Dream: The memory of cinema (34th Minute)  100 On the possibilities of a pure cinema  105 PART TWO  The spectacle image 109 New American cinemas: 1967–79  111 Image, narrative and spectacle in mass entertainment  111 The new American cinema: An aesthetic of ambiguity  120 A historical departure (1)  127 Transformations: The Player  129 Beyond narrativity  131 High concept, effect, spectacle  137 The ontology of the spectacle image  139 The technological image  141 Between reality, illusion and effect  141 The imprint of technology: On early cinema (Vertov) and late cinema (Spielberg)  147 The technological image and its properties  157 A historical departure (2): Industrialized effect  161 Simulated motion and complex compositing: The Dykstraflex system  163 Conclusion: Image, effect, commodity  168 Neo-baroque form: Excess and disambiguation  171 The blockbuster auteur: On the cinema of Steven Spielberg  171 Film style, method and analysis  175 Framing spectacle: Jaws and neo-baroque excess  180 Second shark attack: Spielberg’s neo-baroque aestheticism  183 Incitement to action, realist spectacle and the neo-baroque aesthetic: Omaha Beach, Saving Private Ryan  191 Spectacle affect  203 Image, narrative and affect: Theoretical paradigms  203 Image functionality and affect: Sensation and mise en scène  213 Affect and the spectacle image  218 www.ebook777.com free ebooks ==> www.ebook777.com Contents vii The technology of vision and visuality: The technological image reprised  223 The technology of material and non-material bodies (including oceanliners): Endo-skeletons, morphing shapes and machines  227 PART THREE  On the Characteristics of Future Cinema 237 New cinematic imaginaries  239 Teleological and transcendental narratives in image media: The Dark Knight Rises, IMAX film, and HFR cinema  239 Is it even cinema? 3-D, Avatar, and immersive cinema experience  244 The paradox of immersive 3-D  248 The mobility of the image  255 A vivid philosophy of the image espoused by Pixar’s Rick Sayre  258 Nostalgia for a lost object: A visit to the museum  262 Bibliography  265 Filmography  279 Index  287 free ebooks ==> www.ebook777.com www.ebook777.com free ebooks ==> www.ebook777.com Acknowledgements T his book benefited enormously from financial support from the University of Sydney The School of Letters, Art and Media provided two annual grants that contributed to research and writing I also received a research grant from the United States Studies Centre that enabled me to undertake research in Los Angeles and San Francisco in early 2012 I’m very fortunate to work with a number of great people, who help to make my job as a film academic a source of genuine pleasure I wish to make special mention of the constant support and encouragement over a number of years of David Kelly, Peter Marks, Judith Keene and Jennifer Milam These people, in one way or another, have been instrumental in the development of my career, my thinking on cinema and art, and my own place in the evolving role of arts-based scholarship I am deeply grateful for the generosity of Sam Cosentino and Jenny Ward, who were instrumental in getting me ‘connected’ with key practitioners in the studio system I thank Steve Ross at USC, who put me in touch with Tad Marburg, who in turn put me in touch with key production personnel in Los Angeles and San Francisco I especially wish to thank Rick Sayre at Pixar, who was generous with his time, but also interested in what I had to say I got to spend an afternoon with Richard King, a key sound designer and editor at Warner Bros – Richard’s insights into the contemporary studio system were illuminating John Lee, second editor on The Dark Knight Rises, provided the kind of insight into large-scale studio production that is hard to get at second or third hand Philip Lelyveld and Bryan Gonzales at the Entertainment Technology Center at USC provided up-to-date and insightful commentary on contemporary 3-D image (and sound, yes, 3-D sound) technology Katie Gallof at Continuum Press has been an absolute pleasure to work with on this project She brought a fantastic presence to the professional side of things I wish to thank my family, who are keen film enthusiasts A great deal of my thinking in this book filters through my twin brother, Herschel, whose experience of cinema accompanied, and continues to accompany, my own Last, I wish to thank Rebecca Goldsworthy, my wife, who has supported every aspect of my fascination with cinema Every thought in free ebooks ==> www.ebook777.com Index Film titles are indexed by their English name Page references in italics denote a figure Abyss, The 30 narrative 66 Acland, Charles R 239n acquisition/ownership 255, 255n 47 action cinema conflict 106n 80 High Concept see spectacle length of shot/cut 71, 72 narrative 71, 72 scope 71, 72–5, 74n 42, 137n 85 see also individual names Adaptation 57 space 57 Adventures of Tintin, The 246 affect constraint 220 continuity/motion 204, 214 embodiment and 205, 207–8n 16 emotion and 205 narrative 206n 12 metaphors and 207–8, 211 mise en scène constraint 213 continuity/motion 213–14 engagement and 215 narrative 217 scope 213, 215, 216–17 narrative 209, 210–11, 214–15 conflict 215, 221 continuity/motion 209–10, 210n 22, 213 embodiment and 205–6, 210 engagement and 210 screenwriting and 213 scope 204–5, 206, 218, 221 subjectivity 211 time 218 trauma 218 uniqueness 220 see also individual names Alien 233 Aliens 248 backlighting 234, 235 close-up 234, 235 human/non-human entities 218, 224, 226, 228, 233, 234, 235 excess 235 idealization 235 narrative 234–5 low-angle shot 234 scope 218, 224–5, 226 Altman, Robert 123, 128, 129, 172 audio-visual cues 86 depth of image 247 length of shot/cut 129–30 long shot 23 studios and 129–30 Amblin Entertainment 13 American Graffiti 162 American Zoetrope 123, 162 Amistad 191 Andrew, Dudley 9, 33, 40, 61, 159, 255–6 Angelopolous, Theodoros 221 Antonioni, Michelangelo 42, 43, 45, 47, 86, 201 audio-visual cues 42–3 depth of image 252 off-screen image 251 reproduced audio-visual cues 44, 45, 89, 90 shot reverse-shot 43, 46–7 free ebooks ==> www.ebook777.com 288 Index Apocalypse Now 27 space and time 174 trauma 172–3, 174, 174 Apocalypto 29–30 Aronofsky, Darren 96 Arrival of a Train at a Station fascination from 3–4 nostalgia 30 scope 231 shock from 3, 4–5, 72 Arroyo, José 220 Artist, The 241 Assayas, Olivier 49n 30 Avatar 157, 169, 223 human/non-human entities 218, 235 awakenings 229, 256 idealization 229 narrative 66, 67, 210 scope 11, 256 3-D 245–6, 247, 248, 249, 250 censure 223–4n 56 human/non-human entities 225 limitations 254–5 mise en scène 248–9 sight and 255n 48 Avengers, The 220 Back to the Future Part II 246n 25 Badley, Linda 228n 68 Balázs, Béla 81 Battleship Potemkin 176 Baudrillard, Jean 11–12, 144 networks 157–8n 37 space 157 Bay, Michael 214 Bazin, André 10, 15, 17, 18, 24–5, 32–3, 40, 49, 64–5, 139–40, 166, 239 continuity/motion depth of image 176–7, 180, 246–7, 254–5 engagement 4n montage 176, 177 off-screen image 251, 252 photographic images 70, 70n 30 Being John Malkovich 56 space 54–5, 57–8 Beller, Jonathan commoditization 117 subjectivity 117n 18 Belton, John 25 wide-angle shots 186 Bely, Andrei 149 Benjamin, Walter 62 acquisition/ownership 255n 47 engagement 62–3 Bergson, Henri 51 Bicycle Thieves, The 49 space 12 Birds, The 15 Biskind, Peter 121, 127, 130–1, 136n 82, 171 ‘Black or White’ 231 Blade Runner: Director’s Cut 26 scope 27 Blade Runner: Final Cut 24, 26 audio-visual cues 27 circulation 26–7 redundancy and 28 scope 27, 28 Blow Up 86 audio-visual cues 42–3 continuity/motion, space and time 42, 43–4, 45, 46–7 shot reverse-shot 43, 46–7 Boarding Gate 49n 30 Body Double 254 body horror films 227–8, 228n 68 abjection 228, 228n 68 narrative 228 repetition 227 Bogdanovich, Peter 130–1 black and white film 162 naturalism 161–2 Bondanella, Peter E 18 Bordwell, David 15, 35–6, 111n 1, 124–5, 175, 179, 179n 24, 180, 181, 213–14 depth of image 180, 247n 29, 251–2 length of shot/cut 71 narrative 65, 71, 131, 215 wipe-cuts 186n 40 Born on the Fourth of July 191–2 Bourne films 72 Bourne Supremacy 71 www.ebook777.com free ebooks ==> www.ebook777.com Index Bourne Ultimatum, The close-ups 74 conflict 74 length of shot/cut 74, 75 space and time 74, 75 branding 13, 13n 27 Breathless 186 Breimer, Stephen F 203n Brosnan, John 141, 142 Buckland, Warren 54, 171, 175, 175n 11, 181–2 branding 13n 27 dolly zoom 189 narrative 65 wipe-cuts 186n 40 Bukatman, Scott 66n 15, 155–6, 223 Bullitt 134n 80 Bwana Devil 245 Calabrese, Omar 182–3 cameras 10 invisibility of style 14–15 subjectivity 12–13 see also individual terms Cameron, Allan 54n 53 Cameron, James 30, 49, 65, 144–5, 157, 212, 221–2, 223, 235, 243–4 commoditization 235–6 depth of image 247 high frame rate (HFR) 241–2, 242n 12 human/non-human entities 218, 225, 229, 230, 231–2, 234 narrative 66, 67, 217–18, 222, 225 sight 255n 48 3-D 212, 224, 241–2, 242, 246, 247, 249 Capps, Emma 39–40 car chases location shoot 163 narrative 134n 80 scope 134, 163 Carpenter, John human/non-human entities 228 narrative 209 Carroll, Noël 35–6, 205 narrative 131 cartoons 189, 190 Casablanca 79–80 289 close-ups 80, 80–1, 81n 54 invisibility of style 14–15, 16 length of shot/cut 80 narrative 79–80, 81n 54 space 80–1 time 100 Cassavetes, John 41, 49–50 naturalism 162 Cavell, Stanley 10, 11n 24 off-screen image 251 photographic images 248 celluloid IMAX and 240–1, 241n 9, 242 montage 24 scope 24–5 technology and 23n 44, 24, 25, 26, 27, 28, 29n 52, 30–1, 168–9, 241, 241n 10, 243–4 audio-visual cues 27 constraint 220 financial factors 25 montage 30 narrative 156 nostalgia 28–9, 30 photographic images 243, 244 redundancy and 28, 30 time and 29–30, 31, 153n 31, 159n 42, 159–60 uniqueness 25–6 Children of Men 23 long shot 23, 23n 44 Chinatown, narrative 215, 216 audio-visual cues 216 continuity/motion 216 screenwriting and rewriting 215–16 Chion, Michel 85 Chodolenko, Alan 146, 259n 56 Christie, Ian 254 Cimino, Michael 172 cinema astonishment from audio-visual cues 86 auteurism and 123n 47 narrative 145 conflict 239 cross-media 183 engagement from 4, 4n 5, 175–6, 178–9 free ebooks ==> www.ebook777.com 290 Index illusion and 85 as itinerary 11–12 narrative 106–7, 126–7, 131, 132, 206–7 engagement from 192 scope 3, 11, 11n 24, 24, 59, 100, 139–40 time and 4, 140, 140n 93 see also individual terms Cinématographe 5, continuity/motion 5, 8–9 secrecy on 5–6 Citizen Kane 14, 33, 166 depth of image 17, 180, 247, 251, 253, 253 Clock, The, time and 30, 262, 262–3 anxiety and 263 montage 262, 263 space 263 Close Encounters of the Third Kind 160, 172, 182, 191 audio-visual cues 161 excess 190, 200 fascination 190, 191 human/non-human entities 229 scope 147, 148, 161 Colman, Felicity 49 continuity/motion 204 commoditization 117, 157, 170, 220, 235–6, 239–40, 240n auteurism and 156 branding 13, 13n 27 conflict 239n rides 112, 112n narrative 112n 3-D and 117 Comolli, Jean-Louis 180 Conformist, The hand-held camera 72 line-cross 132n 74 narrative 132 Conversation, The 88–9, 128 audio-visual cues 85, 86, 87–9, 93–5, 96, 184 close-up 93 conflict 124, 125 financial factors 123n 46, 171 flashback 89–90 narrative 92, 132 redubbed audio-visual cues 92–3, 94 reproduced audio-visual cues 88–92, 90, 91, 93, 93, 95 scope 86, 91–2, 106 shot reverse-shot 89–90 subjectivity 89–91, 92–3 trauma 85–6 zoom shot 87, 88 Cook, David A 120n 29 Coppola, Francis Ford 27, 86, 120, 123, 162, 172, 201 audio-visual cues 85, 86, 87, 88, 94–5 financial factors 123n 46, 171–2 reproduced audio-visual cues 90, 92 Corman, Roger 76, 121–2 Cotta Vaz, Mark 162, 166 Crash (Cronenberg) 228 Cronenberg, David framing 99 human/non-human entities 227–8 Crying Game, The 130 Cuarón, Alfonso 23 depth of image 247 long shot 23, 23n 44 Cubbitt, Sean 4, 40, 48, 117–18, 142, 143–4, 149n 22, 154, 239 narrative 67 Dark Knight, The 13–14 subjectivity 12–13, 13 Dark Knight Rises, The audio-visual cues 95n 73 scope 239, 240, 241 time and 240 Day the Earth Stood Still, The 164 Days of Heaven 211 film language 208 subjectivity 207 narrative 207 Days of Thunder 78 de Bont, Jan 72 De Palma, Brian montage 176 narrative 209 De Sica, Vittorio 15, 18, 49–50 Debord, Guy 97 www.ebook777.com free ebooks ==> www.ebook777.com Index Deleuze, Gilles 15–16, 18, 33, 37, 40, 41, 41n 10, 42, 46, 47n 24, 47–50, 51, 52–4, 106n 80 continuity/motion 7n 12, 204, 252–3 film language 177n 19, 177–8, 178n 21 journeying/flight 125 narrative 67 off-screen image 251 DeLillo, Don 59, 60, 62 DeMille, Cecil B 164–5 Demoscene 259–62 Descendents, The 203–4, 204n D’Escriván, Julio 89, 90–1 Dial M for Murder 245 digital technology see technology Dirty Harry, narrative 133–4 conflict 135 journeying/flight 134 space and time 134, 135 discretization 258–9 space and time 259 Dixon, Wheeler Winston 30 Django Unchained 241 Do the Right Thing 218, 219 Doane, Mary Ann close-ups 81n 54 IMAX 240 documentary 22, 191, 196–7, 198–9, 200, 257 conflict 257–8 Dogma Donnie Brasco 81n 53 Don’t Look Back 176 Dressed to Kill 254 Dreyer, Carl Theodor 79 Duignan, Patricia Rose 162, 166 Dyer, Richard 72 Dykstra, John 166–7, 168 E T.: The Extra Terrestrial 13–14, 174, 128 financial factors 190 narrative and engagement 192, 193 small town/idealized setting 192 Eastwood, Clint 49 journeying/flight 134 Easy Rider 291 journeying/flight 126 time and 126, 127 Eco, Umberto 100, 103 narrative 215 repetition 182–3 Eisenstein, Sergei 10, 17, 139–40 film language 176 montage 17, 24, 176 3-D 254 Elsaesser, Thomas 122, 124, 133n 77, 220, 256 Emmerich, Roland 142, 214 Enticknap, Leo 153 Epstein, Jacob 174 Eternal Sunshine of the Spotless Mind 55 audio-visual cues 58 conflict 56–7 jump cuts 56, 57 space and time 55, 56, 57, 57, 58 ‘Everybody’s Gotta Learn Sometime’ 58 Existenz 227 Exorcist, The scope 127 time 100 Farrell, Kirby 172 Fast and The Furious, The films 78 Field, Syd 213, 213n 30 Fifty First Dates 51–2 time 52, 53 Fight Club 54 film theory/study 59–60, 63n conflict 33, 49, 175 expressibility 32, 33, 34–5, 36 language for 176, 177 generalization and 177n 19, 177–9, 178n 21 limitations 36 long shot 34–5 narrative 175 scope 32, 37, 50, 175, 179 see also individual terms Filser, Barbara 48 Fistful of Dollars, A 84 Five Easy Pieces 122 journeying/flight 125–6 free ebooks ==> www.ebook777.com 292 Index Flaherty, Robert 15 flash drive reproduction 257 Flaxman, Gregory 49 Fly, The, human/non-human entities 227 abjection 228, 228n 68, 229 Forbidden Planet 164 Frampton, Daniel 33 Freaks 228n 68 French Connection, The 124 car chase 134, 134n 80, 163 narrative 132, 134 French Connection II, The 134 Frenzy 177–8 Friedberg, Anne 149 Friedkin, William 172 Fuller, Sam 15 Fulton, John P 164 Gaeta, John 70, 145, 158 bullet-time shot 145 gaming 62, 260 narrative 66 gender issues 233 conflict 63–4, 65 human/non-human entities 218n 45, 231–2, 233–4 narrative 234–5 narrative 67 scope 64n 10 subjectivity 63 Gilliam, Terry 223–4n 56 Girl With the Dragon Tattoo, The audio-visual cues 85 montage 84–5 Godfather, The 127 Godfather, Part II, The 124 Goldman, William 203n Good, The Bad and the Ugly, The 82–3 scope 85 Good Will Hunting 263 Grand Theory 35–6 Graves, Douglas 105 Great Gatsby, The 26n 50 Greengrass, Paul 74 Gross, Larry 133n 77 Gunning, Tom 29n 52, 69, 149, 169 continuity/motion 14n 28 narrative 67 shock 3n 3, 69, 138 Hammond, Michael 195n 54 Haneke, Michael 201 Hansen, Miriam 206 Harkins, Michael E 247 Heart of Darkness 33 Heat scope 76 space narrative 74–5 time and 74n 43 wide-angle shots 74 Hermann, Bernard 86–7 Hidden 201n 60 High Concept cinema see spectacle High Noon 262, 262 Hillier, Jim 55–6 Hitchcock, Alfred 15, 63, 68, 105 audio-visual cues 86–7 close-ups 81–2 dolly zoom 189 film language and 177n 19, 177–8, 178n 21 narrative 67 studios and 105 subjectivity 10, 11, 63 3-D 245 Hobbit, The 153n 31 high frame rate (HFR) 241 conflict 244n 20 Hollander, Richard 242, 243 House of Wax 245 Hugo 241 3-D 245, 246 Hutchison, David 141–2n ILM see Industrial Light and Magic images 81, 146 audio-visual cues 83–4, 86, 87, 93–5, 95n 73, 96 autonomous 60, 62, 63, 68, 68n 23, 214 bullet-time shot 70, 114 close-ups 81, 81n 54, 81–2, 83, 84, 84 www.ebook777.com free ebooks ==> www.ebook777.com Index conflict 174 continuity/motion 70 discrete units 183–90, 185, 187, 188, 193, 196–9 engagement 69–70, 119 fascination 69, 98–9, 98 framing 96–8, 98, 99 narrative 65, 66, 68, 69, 106, 116–17, 183, 210 redubbed audio-visual cues 92–3, 94 reproduced audio-visual cues 88, 89–91, 91, 93, 93, 95 scope 62, 64, 68n 23, 68–9, 70, 85, 100, 105, 106, 117, 135, 160–1, 181 space 113–14, 115, 116 close-ups 79, 81–2 conflict 62, 222–3n 52 continuity/motion 6–9, 7n 12 depth of image 249, 252 engagement from 62–3, 64 fascination from 190, 191 as itineraries 9, 12, 17, 23, 42, 61, 64, 67, 78 subjectivity 10–11, 12 long shots 34 master shots 81 narrative 65, 66 conflict 66, 67 engagement and 65–6 time and 67 off-screen image 59, 59n 61 scope 6, 32–3, 61–2, 103–4, 104, 146–7, 157–8, 160, 176 space 157 speed 8, 78 stills off-screen image and time and 7, time and 5, 6–9, 149, 154 constraint 149 illusion and 149 world images 4, 9–10, 11–12, 59–60, 70 conflict 64–5 narrative 65 ubiquity 61 293 see also individual terms Inception 58, 69 IMAX 113–14 narrative 114, 115, 136 engagement from 116–17 protagonist identification 114 scope 112–13, 115–16, 139, 148–9 space 115, 115, 116 subjectivity 114–15 Incredibles, The 258 Independence Day 142 independent cinema continuity/motion and time 41 narrative 119 scope 55–6, 136 studios and 55 see also individual names Indiana Jones and the Last Crusade 214 Indiana Jones films 225n 61 Industrial Light and Magic (ILM) 119–20, 139, 162, 163, 163n 54 compositing 167–8, 169 financial factors 170 motion control 165–8, 169, 169 framing 168 narrative 66–7 Inglourious Basterds 84 iPhone films 31, 256–7 continuity/motion 257 narrative 256 Jackson, Peter commoditization 112n high frame rate (HFR) 241–2 Jameson, Fredric 139n 91, 218, 225n 61 Jaws 182, 183–4, 186–7, 191, 192 anticlimax 190 audio-visual cues 184, 187, 193 auteurism and 188–9 close-ups 186, 187, 193, 194, 195 continuity/motion 193 continuity of shot 184, 185 depth of image 186, 187 dissolve 193 dolly zoom 187, 188, 189 excess 186, 188–9, 190, 195 free ebooks ==> www.ebook777.com 294 Index failure and absence 190 financial factors 190 framing 184 invisibility of style 185, 185 jump cuts 185–6 low-angle shot 193, 194 montage 187 narrative 135, 136, 184, 185 naturalism 186, 187, 187, 189 panning 184 repetition 193 scope 119–20, 127, 128, 136n 82, 147, 148, 171, 187–8, 189, 194 shot reverse-shot 185, 186 small town/idealized setting 192n 52 stasis 184, 193, 194, 194, 195 width of shot 186 wipe-cuts 186, 186n 40, 187 Jaws 3-D 245, 246 Johnson, Ben 161–2 journeying/flight 125–6, 126n 57 destination and 124, 125, 126, 134 Jurassic Park 30 astonishment and 154–5, 156, 220–1, 222 audio-visual cues 155 commoditization 156, 157 excess 195 human/non-human entities 230 narrative 155–6 panning 155 scope 146, 155, 156, 183, 231 speed 220–1, 222 stasis 194–5 time and 155 wide-angle shot 155, 156 Kapell, Matthew 212 Kaufman, Charlie 55, 56–7, 58–9 space 56, 57, 58, 59 Keathley, Christian 120–1 Keller, Alexandra 223, 225 Kerbel, Michael 245 Kill Bill, Volume I 77 King, Geoff 181, 214 commoditization 112n narrative 215n 35 King, Richard 95n 73 King Kong (Cooper and Schoedsack) 146, 147 King Kong (Jackson) 112n Kino-eye 150–1 Klinger, Barbara depth of image 253 3-D 249, 254 Kracauer, Siegfried 40 Kubrick, Stanley 39–40, 167 Kundera, Milan 58 Kurosawa, Akira 75 Lady from Shanghai, The 247 LaPorte, Nicole 191 Last Picture Show, The 122 black and white film 162 narrative 132 naturalism 161–2 Last Year at Marienbad 114 Lavik, Erlend 181 Lawrence of Arabia 34–5, 35 Lean, David 34, 35 Leone, Sergio 84 audio-visual cues 83–4 close-ups 82, 84, 84, 106, 209 montage 84–5 Lewis, Jon 133n 77 Lim, Bliss Cua 51 Lion King 3-D, The 117 Long Goodbye, The 123–4 Lord of the Rings, The: The Fellowship of the Ring 12 Lucas, George 24, 133n 77, 161, 162, 163, 163n 54, 165, 167, 170 financial factors 190 narrative 66–7 Lumière brothers 5, 8, 149 Cinématographe 5–6, 8–9 continuity/motion 7, 8–9 shock 3, 4–5 stills 7, Lynch, David 81–2 McKee, Robert 213 Mclean, Greg 29–30 McVeigh, Steven 212 Machinima 260 www.ebook777.com free ebooks ==> www.ebook777.com Index Mad Max 75, 76 scope 71 Mad Max 2: The Road Warrior 75 audio-visual cues 77 montage 77–8, 79 narrative 76 scope 71, 76–7, 78, 106 shock 77 zoom shot 77 Mad Max films 71 Magnificent Ambersons, The 247 Malick, Terrence 105–6 narrative 209, 209n 21, 221 Maltese Falcon, The depth of image 180 narrative, screenwriting and rewriting 216 Man With a Movie Camera 10, 24–5, 105–6, 141 audio-visual cues 151, 153 continuity/motion 153 Kino-eye 150–1 montage 151, 153, 154 projector 150, 151, 152 scope 139, 148, 150, 151, 152, 153–4 stills 153, 154 time 151, 152 Mangolte, Babette 29, 39 Mann, Michael 75 space 74n 43, 74–5 wide-angle shots 74 Manovich, Lev 148, 150, 157 montage 253–4 Marclay, Christian 30, 262 Marks, Laura 222–3n 52 Martin, Adrian 71 Martin-Jones, David 51–2, 53 Matrix, The bullet-time shot 70, 114, 145, 158, 168 continuity/motion 70 human/non-human entities 229, 256 narrative 114 protagonist identification 114 space and time 52, 114 Matrix Revolutions 235 Mean Streets 295 audio-visual cues 86n 63 narrative 132 Melancholia 12 narrative 205 scope 205, 206 Méliès, Georges 149 Cinématographe continuity/motion narrative 67 Memento 58, 116 time 52 Michael Clayton 12 Midnight Cowboy 133–4 Miller, George 75–6 zoom shot 77 Minority Report 200 Misselhorn, Catrin 159n 41 Modern Times 150 modernist cinema constraint 139n 91 scope 36–7 see also individual names montage 10, 15, 17, 22, 24, 82, 84–5, 151, 153, 154, 177, 187, 262, 263 continuity/motion 20–2, 21, 176 editing 151, 153 film language 176 scope 30, 139 space 21–2, 253–4 speed 77–8, 79 time 42, 176 Morricone, Ennio 83 Mullarky, John 33, 61, 178n 21 Murch, Walter 89, 92–3 Murnau, F W 15 Nagib, Lúcia 67–8, 68n 21 Naked Kiss, The 15 Nashville 128 Ndalianis, Angela 67, 69, 118, 160, 161, 168–9, 222 commoditization 112 neoformalism 179–80, 181–2, 213 censure 179 Neorealism 18, 53, 141 scope 37 see also individual names New American Cinema 123 free ebooks ==> www.ebook777.com 296 Index auteurism 120, 120n 29, 121, 129–30 excess 188–9 studios and 123, 171–2 conflict 120–1, 123–5, 172 decline 127–8, 129, 130–1 financial factors 122, 123, 171–2 journeying/flight 124, 125 narrative 123, 126–7, 131–4, 136n 82, 137 nostalgia 130 scope 122, 123, 124, 128, 130, 133n 77 studios and 121n 38, 121–3, 122n 42, 128, 129–30 see also individual names Newell, Mike 81n 53 Nicholson, Bruce 167 Night Fishing 31, 256–7 continuity/motion 257 narrative 256 Nitsche, Michael 260 noir, narrative 207, 215, 216 audio-visual cues 216 continuity/motion 216 screenwriting and rewriting 215–16 Nolan, Christopher 13–14, 49, 69, 115–16, 148, 214, 239, 241 celluloid 243 commoditization 239 IMAX 240 space 58 subjectivity 12–13, 240, 240n 3-D 248 North by Northwest narrative 178 scope 105 nostalgia 28–9, 30, 99, 99, 130, 225n 61 Notorious 177 novels 32, 33 On the Road 125 Once Upon a Time in America 85 time and 101, 102 Once Upon a Time in the West audio-visual cues 82 close-ups 81–2, 84, 209 framing 84 long shots 82 montage 82 scope 82–3, 85 Open City 17–18, 22–3 comedy 19 depth of image 18, 19–20, 20, 21 documentary 22 long and medium shot 22 long shot 19–20, 79 montage 20–2, 21 primacy 18 scope 18–19, 22 shot reverse-shot 19, 20, 43 space 19–20, 21 Pacino, Al 81n 53 Panahi, Jafah 257 Passenger, The off-screen image 251, 252 reproduced audio-visual cues 44, 45, 89, 90 space and time 44–6, 46, 47 Passion of Joan of Arc, The 79 Pearlman, Karen 209–10, 210n 22 Petric, Vlada 151, 153 photographic images 42, 70, 70n 30, 243, 244, 248 Piano, The film language 207–8 narrative 209 Pinteau, Pascal 164 Pixar 258 Plantinga, Carl 192, 205, 206n 12 film language 207–8n 16 narrative 209n 21, 211 Platoon 191 Player, The auteurism and 129–30 excess 129 length of shot/cut 129–30 long shot 23 scope 129, 130 studios and 129–30 space and time 130 Polanski, Roman 215–16 Pomerance, Murray 140n 93 Porter, Edwin Stanton 67 www.ebook777.com free ebooks ==> www.ebook777.com Index Potemkin 176 Prestige, The fascination from 149 scope 148–9, 149n 22 time 148–9 Psycho 15, 177, 178 audio-visual cues 87 close-ups 81–2, 83 subjectivity 10, 11 time 100 Pulp Fiction 54 Raiders of the Lost Ark 172, 182 Rain Man 133n 77 Ramao, Tico 134n 80 Ray, Robert 68n 23 realism 158, 162–3, 255–6 conflict 9, 10–11, 42, 42n 14, 145–6 depth of image 181, 246–8 narrative 67–8, 68n 21 scope 12, 67 speed ‘synthetic’ images and 17–18, 22–3, 156–7, 158, 159 audio-visual cues 12 comedy 19 conflict 12, 15 depth of image 17, 18, 19–20, 20, 21 documentary 22 invisibility of style 14–15, 16 long and medium shot 22 long shot 19–20, 23, 23n 44 montage 20–2, 21 scope 13–14, 15–17, 18–19, 22 shot reverse-shot 19, 20 space 15, 19–20, 21 subjectivity 12–13, 13 time 15 see also individual terms Rear Window 105 Red Dead Redemption 62 Red River 124n 49 Renoir, Jean 15 depth of image 247, 249 Requiem for a Dream 95 fascination 98–9 framing 96–7, 98, 99 297 nostalgia 99, 99 scope 95–6, 98–9, 99, 101, 101 time and 101, 101, 102–3, 103 space 96–7 Reservoir Dogs 130 Resnais, Alain 114 Ressner, Jeffrey 248 Rise of the Planet of the Apes human/non-human entities 230 motion-capture animation 158–9, 160 engagement from 159 Robnik, Drehli 122n 43 Robocop human/non-human entities 235 stop-motion animation 146, 147 Rodowick, David Norman 3, 26, 28–9, 30, 31, 35–6, 39, 47–8, 63n 7, 112, 244 Rombes, Nicholas 29, 95, 96, 118–19, 154, 255, 256–7, 260 human/non-human entities 226–7 Rome Open City see Open City Ross, Miriam 249 Rossellini, Roberto 17–18, 19–20, 22–3 long shot 79 montage 20, 22 space 19–20 shot reverse-shot 43 Rothman, William 64n 10 Rubin, Michael 166 Ruiz, Raùl 204n Rules of the Game, The 249, 250 Run Lola Run 114 Rutherford, Anne 211, 213, 214, 216–17 close-ups 209 film language 207–9 narrative 206–7, 209 Salt, Barry 158 Sarris, Andrew 123n 47 Saving Private Ryan 172, 192 audio-visual cues 197, 198 close-ups 199, 200, 201 depth of image 197, 199 documentary 191, 196–7, 198–9, 200 dolly close-up 196, 197 free ebooks ==> www.ebook777.com 298 Index excess 195, 199–200, 201–2 flashback 195–6 framing 198 hand-held camera 196–7 low-angle shots 196, 199 narrative 191, 196, 198, 199, 200 scope 183, 191–2, 195n 54, 199 shot reverse-shot 199, 201 slow-motion 197–8 subjectivity 195–6, 197, 197–8, 199, 201 time 197 trauma 196–7, 198 Sayre, Rick 258 Demoscene 259–62 discretization 258–9 Machinima 260 Schatz, Thomas 121, 121n 38, 122n 42 Schindler’s List 172, 191 close-up 173 conflict 174 long shot 34 low-angle shot 173 narrative and recuperation 172 naturalism 173 scope 173–4, 174 shallow focus 173 subjectivity 173 science fiction 164 see also individual names Sconce, Jeremy 204n Scorsese, Martin audio-visual cues 86, 86n 63 depth of image 252 Scott, A O 257–8 Scott, Ridley 26, 27 Scott, Tony 78 Se7en 72 Shadows 41n 11 Shaviro, Steven 49n 30 Shock Corridor 15 Short, Sue 218n 45 Smart Cinema 204n Smith, George Albert 67 Sobchack, Vivian 205 film language 207–8n 16, 207–9 narrative 209 space 55 Sobol, John 261 space 55 see also individual terms special effects 66n 15, 137, 138–9, 139, 139n 91, 141, 142–4, 146, 154, 164–5 compositing 165, 166 illusion and 141, 141–2n 3, 143, 144, 145, 148–9, 149n 22, 164, 169 in-camera 165 motion control 165–7, 221 primacy 137–8, 163 screen and 144 wizardry and 144–5 see also individual names spectacle astonishment from 138, 220 auteurism and 129–30, 133n 77, 181–2 studios and 182 censure 117–18, 120, 133n 77, 138, 163n 54 commoditization 170, 220, 239–40 conflict 120–1, 172, 181, 220 discrete units 183 engagement from 119 excess 111, 111n 1, 112, 120, 129, 163n 54, 200–1 financial factors 128, 190 human/non-human entities 230 awakenings 229 idealization 229–30 subjugation 228–9 limitations 130, 138, 181 narrative 112, 119, 132–3, 135–7, 203–4 conflict 215n 35 studios and 203 repetition 182–3 scope 118–20, 122n 43, 127–8, 129, 133n 77, 136n 82, 137, 137n 85, 139, 160–1, 169–70, 181, 211–12, 223, 224 screenwriting and rewriting 203n speed 220 studios and 128, 129–30 time and 160 www.ebook777.com free ebooks ==> www.ebook777.com Index uniqueness 220 see also individual terms Speed 73 perpetual motion 72, 73 shock 72 Spielberg, Steven 13–14, 127, 156, 163n 54, 170, 171, 172, 175, 181–2, 188–9, 200, 202, 214 astonishment 154–5 commoditization 13, 13n 27, 156, 157 continuity/motion 214 dolly zoom 189 fantasist/realist filmmaker 191, 192–200, 194, 195, 197, 199, 200, 201, 201–2 financial factors 172, 190 hand-held camera 196–7 long shot 34 mise en scène 133n 77 narrative 184, 189–90, 192, 209 small town/idealized setting 192n 52 studios and 182 Stagecoach 124n 49 Staiger, Janet 71 Star Wars Episode II: Attack of the Clones 24, 168 Star Wars Episode IV: A New Hope 76–7, 162 compositing 167–8, 169 excess 190 financial factors 190 human/non-human entities 229 motion control 167–8, 169, 169, 221 framing 168 narrative 66–7, 135–6 nostalgia 225n 61 scope 120, 127, 147, 148, 166 Stone, Oliver 191–2 Stork, Matthias 74n 42 Strange Days 217 Stranger, The 247 Superman II 211 Sutton, Damian 47n 24 Tafleere, David 159n 42 Tarantino, Quentin 84, 118 299 celluloid 241, 241n 10 narrative 126–7 zoom shot 77 Tarkovsky, Andrey 17n 37, 24, 32 Taxi Driver audio-visual cues 87 conflict 124, 125 jump cuts 124, 125 narrative and journeying/flight 134 off-screen image 251, 252 technology celluloid and see celluloid censure 235–6 circulation 26–7 commoditization 157, 235–6 conflict 25, 255, 256, 260 failure and absence 190 high frame rate (HFR) 241–2, 244 limitations 25 scope 6, 16–17, 24, 26n 50, 27, 141, 142–4, 145, 146–7, 154, 157, 158n 39, 159n 41, 160–1, 221, 223, 224, 235, 242–3 3-D (stereoscopy) 245, 246, 247–8, 249, 255 acquisition/ownership and 255 conflict 246, 254 continuity/motion 249 human/non-human entities 226 limitations 246n 25, 247, 253 sight and 255 time and 244–5 time and 5, 6, 24, 149, 154 wizardry 157 see also individual terms television 147, 148 fascination and 97–9, 98 nostalgia 99 scope 99 space and time 96–7 Ten Commandments, The (1956) excess 112, 113 scope 164–5 Terminator human/non-human entities 218, 225, 228, 230, 231, 233 reanimation 230 narrative 66, 210 free ebooks ==> www.ebook777.com 300 Index scope 222 Terminator 2: Judgment Day 30 human/non-human entities 218, 225, 228–9, 231–2, 233 astonishment from 232–3, 233 reanimation 230 scope 222 trauma 218, 219 Terminator films 222 There Will Be Blood 203–4 Thing, The 228 Third Man, The 175 This Is Not a Film 257 conflict 257–8 flash drive reproduction 257 Thompson, Kristin 111, 179, 204 film language 178 narrative 65, 71, 119, 131, 203–4, 210, 213, 215 Thomson, David 120, 121 THX 1138 162 time 34, 39, 40–1, 42, 47, 49–51, 52–4, 58, 100, 147–8 auteurism 47 conflict 40 continuity/motion 41n 10, 41–2, 47n 24, 47–9, 50, 51, 52, 53 recognition and 42 space 47n 24, 47–9, 50 ubiquity 39 see also individual terms Time Code 254 Titanic audio-visual cues 231 human/non-human entities 230 awakenings 230–1, 232 narrative 231 reanimation 230 time 230–1, 232 narrative 210 scope 222, 225 3-D 223–4 To Catch a Thief 178 Tomasovic, Dick 69, 163n 54 Touch of Evil 129 depth of image 247, 253 length of shot 146 long shot 23 Towne, Robert 215–16 Transformers audio-visual cues 111 excess 111 human/non-human entities 211, 212 narrative 112 scope 111–12, 113 Tree of Life narrative 209n 21 scope 105, 106 time 105–6 Trifonova, Temenuga 52 Trip to the Moon, A 166 Triumph of the Will 176 True Lies 222 Truffaut, Franỗois 162 Trumbull, Douglas 241n 11 Tuck, Greg 239–40, 240n 24 147, 148 2001: A Space Odyssey 165 astonishment from 141–2 high frame rate (HFR) 241n 11 scope 142, 143, 157, 167 space and time 39–40, 50 Tykwer, Tom 114 Umberto D 18 Unforgiven 130 Untouchables 176 Usual Suspects, The close-up zoom 207, 208 narrative 207, 208 stasis 207 Vangelis 27 Vertigo 15, 68 audio-visual cues 87 conflict 63–4, 65 dolly zoom 187, 189 narrative 67 naturalism 189 scope 64n 10, 68 subjectivity 10, 63 Vertov, Dziga 10, 24–5, 139–40, 151, 153, 156 Kino-eye 150–1 video exhibit, time and 30, 262, 262–3 anxiety and 263 www.ebook777.com free ebooks ==> www.ebook777.com Index montage 262, 263 space 263 Videodrome 227 fascination and 98, 98 framing 98, 99 human/non-human entities abjection 228, 228n 68 repetition 227 scope 99 Virilio, Paul 226–7 von Stroheim, Erich 15 von Trier, Lars 12, 205 Wachowski siblings 145 bullet-time shot 70 Wait Until Dark 263 War Horse 241 Waterworld â•›211 Wavelength 50 Welles, Orson 14, 15, 32–3, 129 black and white film 162 depth of image 17, 180–1, 247, 251, 252 301 length of shot 146 long shot 23 space and time 180 Westerns 73n 40, 124n 49 see also individual names Weta Digital 158 White Ribbon, The 201n 60 Who Framed Roger Rabbit 190 Wild at Heart 81–2, 83 Williams, John 155 Williams, Paul 121 Wise, Robert 164 Wolf Creek 29–30 Wood, Aylish 158n 39 Wood, Robin 130, 137–8 Workers Leaving the Lumière Factory in Lyon 31 continuity/motion 6–8 stills 7, Žižek, Slavoj 11 subjectivity 63 ‘Zooropa’ 227 ... measure of the aesthetic material of the image Cinematic realism is crafted out of the mechanics of the medium: space and time, unfolding on screen, are crafted out of the instruments of the camera,... www.ebook777.com 14 THE ORIENTATION OF FUTURE CINEMA Spielberg’s E.T.: The Extra-Terrestrial (1982) or Nolan’s The Dark Knight partake of the register of the synthetic image does not in some way negate these... ONE  The age of late cinema 1 On cinematic experience  Early and late cinema Old and new technologies of the image  Image as itinerary: The image of reality and the synthetic image  The image of