Read e-book online Action Movies: The Cinema of Striking Back (Short Cuts) PDF

By Harvey O'Brien

ISBN-10: 0231163312

ISBN-13: 9780231163316

Motion videos: The Cinema of awesome again is a brief, sharp advent to the cinema of motion. motion video clips aren't simply choked with motion, they're approximately motion: approximately responding to threats and traumas with severe prejudice. motion heroes don't hunt down event, they reply to dire necessity; usually with panic, hysteria, and rage. although they appear to be hypermasculine ubertexts, motion video clips show the fears and anxieties in the back of the bluster. actually that's what such a lot of them are literally approximately. Harvey O'Brien takes us throughout the evolution of the motion motion picture as a special style, with an eye fixed for the ethics and aesthetics of 'action movies' not only as an outline of content material, yet an ethical argument. He revisits a few widespread arguments round gender and violence, yet brings a brand new attitude to the controversy through now not taking first impressions without any consideration. movies tested intimately comprise demise want, Mad Max 2, Rambo: First Blood half II, final motion Hero, The Matrix, Kill invoice, and The Expendables: disreputable entertainments that still tug on the well known mind's eye for stable purposes.

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Additional info for Action Movies: The Cinema of Striking Back (Short Cuts)

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Indb 33 10/9/12 10:50:45 SHORT CUTS of the same thing. However, here we have the natural corollary to that as, as Bordwell remarks, the scenes must also be legible. Car chase films represent the fusion of mind and machine in which the will becomes manifest through mechanisation. The cars became ‘characters’ and those who drive them are interlinked with their vehicles relative to narrative momentum, emotional expression and agency of action. This is seen in films like Bullitt and The Driver, reaching something of an apex with Mad Max 2.

Indb 19 10/9/12 10:50:44 SHORT CUTS first, representing the physical landscape of present experience as a marker of ‘civilisation’ instead of using nineteenth-century frontier imagery as a cipher for the same thing. As Ed Buscombe puts it ‘the city became the frontier, and the savages – the muggers and rapists – were already inside the gates’ (1993: 53). The capacity to navigate this dangerous space is one of the markers of the action hero, as is the (post-)modernistic fascination with urban imagery (helicopter shots of cityscapes, alienating juxtapositions between actors and surrounding buildings).

Eastwood’s unapologetically classical westerner is pitted against the sins of the ‘civilised’ East, thoroughly overrun by criminality, immorality and hedonism, but also against the bureaucratic authorities that insist on deference to the procedures of modern law enforcement. Eventually Coogan is able to navigate through the urban jungle and escape from it – a literal flight back to his ‘civilisation’ which is clearly (and nostalgically) encoded as a social, sexual and cinematic past. The opening scene enacts the drama of confrontation between classic and contemporary iconography as Coogan brings in a Navajo fugitive.

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Action Movies: The Cinema of Striking Back (Short Cuts) by Harvey O'Brien


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