I think the Bruckheimer/Michael Bay type films have worked to put the
extremely fast edit/blurry handheld style to the fore. In mainstream
cinema I remember Michael Mann's Heat employing handheld to good effect
in the post bank robbery shoot out and Katherine Bigelow's Strange Days
using handheld POV extensively and these were both in 1995. Not exactly
the same but what about Scorsese having his camera men on roller skates
in the ring for the Raging Bull fight scenes? Also, going back even
further Michael Powell's Peeping Tom? The trend also has arguably
leaked over from the big American TV shows such as Hill Street Blues,
NYPD Blue etc. that employ a pseudo-documentary feel?
Owen
-----Original Message-----
From: Film-Philosophy Salon [mailto:[log in to unmask]] On
Behalf Of Henry Taylor
Sent: 13 November 2007 23:47
To: [log in to unmask]
Subject: DOGMAtic question
A stylistic query. Two days ago I went to see THE KINGDOM (Peter Berg,
2007, cinematography Mauro Fiore), and its use of handheld camera-work
is very reminiscent - if not as extreme - of that used for THE BOURNE
ULTIMATUM (Paul Greengrass, 2007, cinematography Oliver Wood). Is there
a current production trend to shoot action thrillers in this way, and if
so, does this trend originate in the DOGMA films of the 90s? Or where
else does this come from?
Henry
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