By Gurney R. W.
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Extra resources for Angular Distribution of Intensity of Resonance Radiation
A. Takedown, Miami Vice The conspicuous visual style in evidence in Michael Mann’s films has been the subject of frequent and intense debate, as to its structural and thematic relevance, its sources, its contemporary influence, and its distraction from or replacement of a more meaningful and significant frame of reference for the director’s work. Although the most striking aspects of Mann’s cinematic expression are visual (particularly the continuities in widescreen composition, in colouration and editing), the director’s films are distinguished by equally individualistic choices relating to sound effects and soundtracks.
Mann’s Nike film, in invoking the personal precedent of The Last of the Mohicans, endows the sporting environment with the commitment of effort and ethical choice (in which work and lifestyle become inseparable), which characterises that film and all others in the director’s canon. Fincher’s compressed narrative suggests an innate patterning to events which defines and controls the individuals and their activity, in a similar fashion to the cyclical, inevitable nature of the narratives in Alien 3 (1992), Se7en (1995), Fight Club (1999) and The Curious Case of Benjamin Button (2008).
The climax of the sequence, in the shooting of Michael, indicates Hanna’s intervention with significant stylistic changes. indb 37 37 4/6/13 15:10:22 long shot over Hanna’s shoulder, with Hanna’s head out of focus in the extreme left of the frame. Hanna takes aim and fires in a static frontal close-up, also marked by a heightening of the soundtrack music and the addition of slow-motion, which is also used for a similar close-up for the aftermath of the fatal shot. The return to a smooth, mobile medium shot as Hanna picks up the child and Drucker and Casals arrive, along with the falling off of diegetic sound and music, signals the end of the sequence.
Angular Distribution of Intensity of Resonance Radiation by Gurney R. W.