|
|
|
71147d2b-2ab1-4937-8c3b-dd42a5cf5ac329.jpg
So, here's a theory about Mad Max: it just might be the most expensive avant-garde movie ever made. There's no plot to speak of, just two chase scenes, one up and one back, minimal dialogue. What you get instead is an assort of associative images cut together - montage and percussive sound. And the theory of montage was first formalised back in the silent 1920s by Sergei Eisenstein. It was he said the key to cinema like the nerve. So for example, in the film Strike, montage of workers being killed is crossed with footage of the butchering of a bull in an abattoir, making, as he said, for a powerful emotional intensification of the scene. And in the same way, Mad Max, higher on effect and emotion, lower on narrative, pure cinema. When I brought my theory to director George Miller, and luckily, he agreed.
"That's exactly, you know what I mean, when I first came to cinema, I was drawn by curiosity. I was very influenced by the book by Kevin Brownlow, The Parade's Gone By. He basically said the whole language was defined resound. And it's absolutely true. In Buster Keaton, the general in Harold Lloyd, in the Mack Sennett comedies, in the Trujillo westerns, it was a pure film language not relying on the spoken words." |
|
发表于 2016-10-30 15:29:39