photographer

Nolan 2022-04-07 09:01:08

7/10. The core of Keaton's comedy is undoubtedly the action space. The audience expects Keaton's flexible action response to escape from the chaotic and dangerous environment and liberate from the constraints of space. In the opening scene, Keaton sets the camera in the courtyard between the two houses. The office-like space is limited (several smashes of the glass on the door suggest Keaton's desire to escape the confines). The crowded bus, the pool changing room, and the rain-drenched back seat of the car run through the restrictions on movement. At the climax, Keaton enters the other's dream-like space (Chinatown Rush), and there are many clever tricks in scheduling: Keaton Panning the camera calmly in the big melee, the legs of the camera stand were broken, the platform he climbed on collapsed, he fell to the ground, and escaped to the back of the cargo bag, the monkey changed the film cassette and fired a machine gun to attract the killer to counterattack, he hid in Shooting from the window of the house, the Chinese killer pressed the switch to make the curtain droop, was rescued by the police and escaped from his ambulance. The causal relationship and spatial location of the incident were closely matched, which greatly stimulated and shocked the audience, but these disintegrating fast editing effects Because of the coherence of the movements, the flexible movements are all performed by monkeys, and there is no chance for Patton to display his unique physical skills.

Ned 2022-04-07 08:01:02

The scene within the scene, the presence of the camera, Keaton moves from outside the camera (photographer) to inside the camera (actor), the newspaper boss said that this is the best film he has ever seen, because this is the reality ( Reflection on the nature of images, reality is better than the appeal of performance), the presence of cameras and Keaton's performance make the audience forget for a moment that it is an image but "reality", a fake image technique.