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 awareness it merits. learning its tendencies, key elements, and visible excesses, this new and multiplied variation of motion Speaks Louder lines 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 similar to soiled Harry, RoboCop, Die difficult, deadly Weapon, Armageddon, Spider-Man, warfare of the Worlds, and The Incredibles--author Eric Lichtenfeld attracts on movie research, construction histories, serious responses, studio advertising and marketing fabrics, and unique filmmaker interviews. up to date and finished, motion Speaks Louder is the definitive examine of the movies' such a lot kinetic type of enjoyable.
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Additional resources for Action Speaks Louder: Violence, Spectacle, and the American Action Movie (Wesleyan Film)
With clear admiration, the characters introducing McQ to his new toy prattle on' its specifications in an exchange that recalls Dirty Harry and its first sequel, Magnum Forcf (1973), and that future action films would imitate. 's eagerness to make the Ingram an icon—or at least, for the " T H E LAW'S CRAZY" 31 purposes of branding, to represent the whole of thefilmwith this weapon, the film's most propulsive element. In the studio's pressbook and theatrical programs, as well as in the film's print advertisements contained therein, the film's title treatments are all the same: the title "McQ" appears in bold, military stencil, and alongside It is the Ingram, complete with extension.
But a genre film's mythos is also a product of the visual landscape that frames the action and the characters' development. In Death Wish, that landscape is New York-noir, dark and punishing from the opening credits. In contrast, the film's pre-credit sequence finds the Kerseys on a Hawaiian beach in a scene more akin to From Here to Eternity than anything to be found later in 36 ACTION SPEAKS LOUDER Death Wish. Paul wants to make love with his reluctant wife. "We're too civilized," she says. Moments later, a harsh cut relocates the couple to a taxicab caught in the strangle of Manhattan traffic, underscored by Herbie Hancock's discordant music.
Early in the Los Angeles Times's review, a line appears that is striking even today: "With no slight encouragement from the MGM publicity department, it is being said that'Shaft' . . recalls the Warner Brothers melodramas of the 30s and early 40s. "^' 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.
Action Speaks Louder: Violence, Spectacle, and the American Action Movie (Wesleyan Film) by Eric Lichtenfeld
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