By Mann, Michael; Rayner, Jonathan; Mann, Michael Kenneth
Michael Mann is among the most crucial American filmmakers of the prior 40 years. His motion pictures express the existential issues of paintings cinema, articulated via a conspicuous and recognizable visible type and but built-in inside of classical Hollywood narrative and style frameworks. on the grounds that his beginnings as a screenwriter within the Seventies, Mann has develop into a key determine inside of modern American pop culture as author, director, and manufacturer for movie and tv. This quantity deals a close learn of Mann's function motion pictures, from The Jericho Mile (1979) to Public Enemies (2009), with attention additionally being given to parallels within the creation, 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 variations from literature, and the advance and importance of his trademark visible type inside glossy American cinema.
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Extra resources for The cinema of Michael Mann : vice and vindication
The Los Angeles skyline appears at several points and in various guises during the film, in scenes attached to specific actions and characters. indb 40 4/6/13 15:10:22 sky. As the camera moves towards its subject, the shot is revealed to be taken from a helicopter, and as the shot progresses its perspective changes by panning right and descending to rooftop height in order to locate the gang’s van as it approaches their target, and drives past the container park where the policemen wait in ambush.
Approaching on the other side of the road, Drucker (Mykelti Williamson) and Casals (Wes Studi) are seen in a telephoto long shot which flattens the perspective and exaggerates their rapid movement between vehicles, pedestrians and street signs. Once the ambush develops and the gang attempt to escape, long shots of much deeper focus provide the foot soldier’s perspective on the crowded and embattled city streets. Unsteady shots share the view over the shoulders of Chris and McCauley as they take cover and open fire on police roadblocks in the background.
Although in Manhunter there are other startlingly coloured scenes which are defined by monotones (the clinical whiteness of Lecktor’s [Brian Cox] symmetrical cell, for example, and the unfocused haze of green which fills the frame as Graham’s distressed point of view after having fled from his interview with Lecktor), the association of vibrant blue with ocean side settings and contemplative scenes extends from Manhunter across Mann’s later career. In Heat, the use of blue to tint compositions in Neil McCauley’s shoreline house is redolent of the isolation, lack of fulfilment and risk of loss which hovers over the similarly tinged scenes of Manhunter.
The cinema of Michael Mann : vice and vindication by Mann, Michael; Rayner, Jonathan; Mann, Michael Kenneth