20 Camera Shot for 6 Seconds of Film
Remarks on cinema of the 90s. Excerpt from the book 'Movies of the 90s', by Jürgen Müller
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Whereas in his film Kubrick lets his camera focus on the face of the principal actor and then pans out, in Doyle's Trainspotting the camera gradually zooms in on the two people - an almost direct quote, in which only one element is reversed. This English director's film continues to allude to famous earlier films. The following sequence shows the principal actor of Trainspotting, arms folded, standing in front of a poster portraying Robert De Niro as Travis Bickle in the film Taxi Driver (1976), shooting with two pistols at once. It is not only the poster, but also even the defiant pose with the folded arms that recall Robert De Niro's interpretation of the role. A great many more allusions could be mentioned. In retrospect, the off-screen monologue at the start of the film seems to be a clear parallel with the opening monologue from A Clockwork Orange. The film also alludes to the record cover of the Beatles' "Abbey Road" LP, and there are shots that bring to mind Richard Lester's Beatles films. This is not merely an expression of Doyle's admiration for the films in question, for these references to "Swinging London" give added meaning to the film. They tell of the end of a particular form of pop culture that is being replaced by techno. What has changed is a youth culture that is defined by saying no. Unlike Tim Burton, the English director produces his allusions so that they are clearly recognisable, almost to the point of being literal re-enactments.
Quotations do not, however, necessarily have to refer to what are regarded as great film classics: we need think only of the Scream trilogy (1996, p. 412, 1997, 1999), which contains constant allusions to successful horror films such as Nightmare on Elm Street (from 1984) or Halloween (from 1978). What links the audience and the film characters in this way is detailed knowledge of these horror thrillers. The attraction of the sequel lies precisely in the fact that games are constantly being played with the audience's sense of anticipation. We think we know how the plot will develop, and, as a result, we are fooled time and again, because nothing turns out quite as expected. In the 1990s, cinematic self-reflection is no longer the exclusive prerogative of the auteur film, but a component part of mainstream cinema.
Page 1 2 3 4 5 6 7 8
Page 1 2 3 4 5 6 7 8
Whereas in his film Kubrick lets his camera focus on the face of the principal actor and then pans out, in Doyle's Trainspotting the camera gradually zooms in on the two people - an almost direct quote, in which only one element is reversed. This English director's film continues to allude to famous earlier films. The following sequence shows the principal actor of Trainspotting, arms folded, standing in front of a poster portraying Robert De Niro as Travis Bickle in the film Taxi Driver (1976), shooting with two pistols at once. It is not only the poster, but also even the defiant pose with the folded arms that recall Robert De Niro's interpretation of the role. A great many more allusions could be mentioned. In retrospect, the off-screen monologue at the start of the film seems to be a clear parallel with the opening monologue from A Clockwork Orange. The film also alludes to the record cover of the Beatles' "Abbey Road" LP, and there are shots that bring to mind Richard Lester's Beatles films. This is not merely an expression of Doyle's admiration for the films in question, for these references to "Swinging London" give added meaning to the film. They tell of the end of a particular form of pop culture that is being replaced by techno. What has changed is a youth culture that is defined by saying no. Unlike Tim Burton, the English director produces his allusions so that they are clearly recognisable, almost to the point of being literal re-enactments.
Quotations do not, however, necessarily have to refer to what are regarded as great film classics: we need think only of the Scream trilogy (1996, p. 412, 1997, 1999), which contains constant allusions to successful horror films such as Nightmare on Elm Street (from 1984) or Halloween (from 1978). What links the audience and the film characters in this way is detailed knowledge of these horror thrillers. The attraction of the sequel lies precisely in the fact that games are constantly being played with the audience's sense of anticipation. We think we know how the plot will develop, and, as a result, we are fooled time and again, because nothing turns out quite as expected. In the 1990s, cinematic self-reflection is no longer the exclusive prerogative of the auteur film, but a component part of mainstream cinema.
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