Download The Cinema of Michael Mann: Vice and Vindication (Directors' by Jonathan Rayner PDF
By Jonathan Rayner
Michael Mann is likely one of the most vital American filmmakers of the earlier 40 years. His motion pictures show the existential matters of artwork cinema, articulated via a conspicuous and recognizable visible variety and but built-in inside of classical Hollywood narrative and style frameworks. in view that his beginnings as a screenwriter within the Seventies, Mann has turn into a key determine inside of modern American pop culture as author, director, and manufacturer for movie and tv. This quantity deals a close examine of Mann's characteristic movies, from The Jericho Mile (1979) to Public Enemies (2009), with attention additionally being given to parallels within the construction, type, and characterization in his tv paintings. It explores Mann's dating with classical genres, his thematic focus on problems with morality and masculinity, his movie diversifications from literature, and the advance and value of his trademark visible variety inside of smooth American cinema.
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Extra resources for The Cinema of Michael Mann: Vice and Vindication (Directors' Cuts)
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When he sits down, he is seen at an angle from behind occupying the left-hand side of the frame, with only Eady’s hair, out of focus on the extreme right, indicating her presence. The interaction between them which Eady initiates is represented in a standard shot/reverse-shot pattern, alternating between opposite over-the-shoulder shots from in front of the counter, showing their faces from the side. McCauley’s unfriendliness justifies this non-committal angle, viewing the slightly shadowed faces from askance, but as his defences drop, the distance between the characters is gradually overcome.
In Raging Bull, slow-motion is again deployed, within examples of subjective point of view. When Jake (Robert De Niro) looks at Vickie (Cathy Moriarty), Tommy (Nicholas Colasanto) and Joey (Joe Pesci) down a hotel corridor, and when he observes Joey in the street years after the end of his career, slow-motion confers comparable subjective emphasis, albeit with varying emotional effect. Jake’s jealous subjective observation of Vickie’s interaction with Tommy is communicated in a cheat-cut close-up of artificially languid faces and torpid gestures encapsulating his monomaniacal gaze.
A vertiginous tilted pan across the city (the point of view from the cockpit) follows Hanna’s instructions for a car to meet him on the ground, and is accompanied by the appearance of thrusting but elegiac soundtrack music (Moby’s cover version of Joy Division’s ‘New Dawn Fades’) which continues through the brief montage of Hanna speeding down the illuminated freeway. indb 41 41 4/6/13 15:10:22 Heat: Hanna speeding on the freeway Heat: McCauley, Eady and the composite city A further variant of the cityscape is seen following the first meeting between McCauley and Eady, when they go back to her rented house overlooking the city.