User:TPoole/sandbox: Difference between revisions

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Direct cinema guides the shooting and editing style. Handheld camera shots unfold in long takes, occasional zooms, and jump cuts. Camera glare also invokes the appearance of authenticity. Mailer allows for a great deal of overlapping dialogue, as well as—during the police interviews—the intrusion of offscreen voices (and shouts) from elsewhere in the police station. But here we also feel the presence of a director more than in ''Wild 90''. For example, at the line-up, the handheld camera situates its point of view over the shoulder of Mailer, who is neatly silhouetted on screen left. Such composition hardly suggests the random.

Other aspects of the cinematic style repeatedly remind us that ''Beyond the

Other aspects of the cinematic style repeatedly remind us that ''Beyond the Law'' is a “fantasy.” Music is used more prodigiously than in ''Wild 90'', punctuating important moments of action, such as when a cop pushes a crook down a hallway and threatens him with a police baton. And then there are numerous different wipe transitions, ranging from one that looks like a splash of paint to another that resembles a car’s windshield wiper. Once again, it is as if fiction and non-fiction wrestle in a cinematic competition.

Law'' is a “fantasy.” Music is used more prodigiously than in ''Wild 90'', punctuating important moments of action, such as when a cop pushes a crook down a hallway and threatens him with a police baton. And then there are numerous different wipe transitions, ranging from one that looks like a splash of paint to another that resembles a car’s windshield wiper. Once again, it is as if fiction and non-fiction wrestle in a cinematic competition.

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 Direct cinema guides the shooting and editing style. Handheld camera shots unfold in long takes, occasional zooms, and jump cuts. Camera glare also invokes the appearance of authenticity. Mailer allows for a great deal of overlapping dialogue, as well as—during the police interviews—the intrusion of offscreen voices (and shouts) from elsewhere in the police station. But here we also feel the presence of a director more than in ''Wild 90''. For example, at the line-up, the handheld camera situates its point of view over the shoulder of Mailer, who is neatly silhouetted on screen left. Such composition hardly suggests the random.
-Other aspects of the cinematic style repeatedly remind us that ''Beyond the
+Other aspects of the cinematic style repeatedly remind us that ''Beyond the Law'' is a “fantasy.” Music is used more prodigiously than in ''Wild 90'', punctuating important moments of action, such as when a cop pushes a crook down a hallway and threatens him with a police baton. And then there are numerous different wipe transitions, ranging from one that looks like a splash of paint to another that resembles a car’s windshield wiper. Once again, it is as if fiction and non-fiction wrestle in a cinematic competition.
-Law'' is a “fantasy.” Music is used more prodigiously than in ''Wild 90'', punctuating important moments of action, such as when a cop pushes a crook down a hallway and threatens him with a police baton. And then there are numerous different wipe transitions, ranging from one that looks like a splash of paint to another that resembles a car’s windshield wiper. Once again, it is as if fiction and non-fiction wrestle in a cinematic competition.