By Harvey O'Brien

ISBN-10: 0231163312

ISBN-13: 9780231163316

Motion video clips: The Cinema of extraordinary again is a quick, sharp advent to the cinema of motion. motion videos aren't simply jam-packed with motion, they're approximately motion: approximately responding to threats and traumas with severe prejudice. motion heroes don't search out event, they reply to dire necessity; usually with panic, hysteria, and rage. although they seem like hypermasculine ubertexts, motion video clips demonstrate the fears and anxieties in the back of the bluster. in truth that's what so much of them are literally approximately. Harvey O'Brien takes us during the evolution of the motion motion picture as a unique 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 accepted arguments round gender and violence, yet brings a brand new attitude to the controversy through now not taking first impressions without any consideration. motion pictures 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 strong purposes.

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Closeups and singles make the shots very legible. Rapid editing obliges the viewer to assemble discrete pieces of information, and it sets a commanding pace: look away and you might miss a key point. In the alternating close views, in the racking focus and the edgily drifting camera, the viewer is promised something significant, or at least new, at each instant. Television-friendly, the style tries to rivet the viewer to the screen. (2002: 24) This observation resonates with the concept of action in action as outlined by Lichtenfeld (2007) and examined in the introduction.

This triggers a gruesome flashback of Rambo crucified in a bamboo cage then having his chest sliced by a Vietnamese soldier. Rambo snaps, reliving the trauma by dint of visual (or perhaps, in his case, kinesthetic) associations between being restrained with the baton and his crucifixion, and between the knife and the razor, and he responds with the instinct to escape. He battles his way out of the station, steals a motorbike and makes for the hills. It is an act of flight, but soon becomes a fight.

Susan Jeffords examines the correlations between the ideology of the ‘Reagan Revolution’ and the cinema of the period. indb 43 10/9/12 10:50:45 SHORT CUTS of becoming a de facto political reality, not least of all in the willingness of American cinema to embrace this image of a new cultural confidence. She notes that narratives ‘of heroism, success, achievement, toughness, strength, and “good old Americanness”’ (1994: 15) that predominated were reflective of the cultural and political shift which Reagan’s speeches and public image evoked.

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

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