Download e-book for kindle: Action Speaks Louder: Violence, Spectacle, and the American by Eric Lichtenfeld

By Eric Lichtenfeld

For greater than 30 years, the motion motion picture has been the movie style that the majority represents Hollywood to the realm, as motion movies locate blockbuster good fortune at field workplaces across the world. nonetheless, the style seldom gets the severe realization it merits. learning its tendencies, key elements, and visible excesses, this new and extended variation of motion Speaks Louder strains the genre's evolution to bare the way it has come to imagine its position of prominence in American tradition. With rankings of in-depth case studies--including movies resembling soiled Harry, RoboCop, Die demanding, deadly Weapon, Armageddon, Spider-Man, conflict of the Worlds, and The Incredibles--author Eric Lichtenfeld attracts on movie research, creation histories, serious responses, studio advertising and marketing fabrics, and unique filmmaker interviews. up to date and finished, motion Speaks Louder is the definitive research of the movies' so much kinetic type of enjoyable.

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Extra resources for Action Speaks Louder: Violence, Spectacle, and the American Action Movie (Wesleyan Film)

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It is rare for a critic to highlight the role studios play in how critics position films to their readers or viewers. We should be glad that this one did, for scholarship tends to look at film criticism as something indicative of the public's response to afilm(which, of course, it can be) to the exclusion of the studio's positioning of it. MGM does stress Shajt's resemblance to these earlier films in the production notes that the studio disseminated to the press. "^*" Innocuous enough. But the notes close on a strange, even disquieting note: Instead of the thirties, it's here and now.

Lieutenant Briggs (Hal Holbrook). It falls to Harry to dispatch Briggs and the vigilante cops, and to restore the system. This is a strange reversal of the original film, though mitigated by the fact that Magnum Force is co-written by John Milius, whose original, unproduced Dirty Harry script featured a similar vigilante villain. The world of Magnum Force is not the noir-ish backdrop of Dirty Harry, Death Wish, or McQ. Virtually all of the action takes place during the day (and therefore probably cost less to produce).

I had as many people who saw The French Connection tell me it was a put-down of cops as told me it was the most accurate, realistic story of a cop. "^"^ If any genre could be successfully crossed with Friedkin's documentary aesthetic, it stands to reason that it would be the police procedural. The French Connection is the filmmakers' investigation of their subject just as it is Doyle and Russo's investigation of theirs. What's more, against the filmmakers' constant recording of New York's ruin, they craft Doyle's character as an extreme rendition of his burnt-out predecessors.

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