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Post by Real Duality on Mar 19, 2017 0:28:36 GMT
Ok, this is something I made up. A film kink is something you are particularly drawn to, and it could be basically anything (the way a movie is shot, the way a story is told, how the characters are done, a type of ending, etc.).
Name one or more of yours and give at least one example from a movie for each kink. I'll start.
I love when a director continually shoots reflections. Ex Machina and Young & Beautiful do a great job of using this technique. With Ex Machina, I see it as each character have their motivations revealed in them. In Young & Beautiful, I think the protagonist is drawn into the mirrors, and then comes out at the end, as a symbol of her journey.
Another one of my top film kinks, is shots of women partly submerged in a vast amount of water (a sea or an ocean). Nymphomaniac has a perfect example of this, and is the perfect movie to use the gesture. I believe it is when she is really being drawn into her nymphomania.
I'll do one more (I have so many tbh). I love back shots at moments of realization. It's cool how it is done in Prisoners at the end.
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Post by stephen on Mar 19, 2017 0:29:53 GMT
Love me a good Kubrick stare. I also love it when someone slowly turns toward the camera as though either struck by a sudden realization, or if they've made a decision that will set everything on a cataclysmic path.
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Post by bobbystarks on Mar 19, 2017 0:40:44 GMT
Raw, visceral, slice of life type films where it doesn't even feel like you're watching actors or watching a film. You just feel like a fly on the wall. My favorite examples are Blue is the Warmest Color and American Honey.
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Post by pendragon on Mar 19, 2017 0:43:11 GMT
Rain, fog and long grass blowing in the wind are a few things I love purely for aesthetic reasons.
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Post by Real Duality on Mar 19, 2017 0:46:39 GMT
Raw, visceral, slice of life type films where it doesn't even feel like you're watching actors or watching a film. You just feel like a fly on the wall. My favorite examples are Blue is the Warmest Color and American Honey. If you want a horror version of this, check out Wes Craven's first movie- The Last House on the Left.
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Post by bobbystarks on Mar 19, 2017 0:49:36 GMT
Raw, visceral, slice of life type films where it doesn't even feel like you're watching actors or watching a film. You just feel like a fly on the wall. My favorite examples are Blue is the Warmest Color and American Honey. If you want a horror version of this, check out Wes Craven's first movie- The Last House on the Left. I think I've seen it before, but not in it's entirety. Thanks.
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Post by bobbystarks on Mar 19, 2017 1:01:48 GMT
Raw, visceral, slice of life type films where it doesn't even feel like you're watching actors or watching a film. You just feel like a fly on the wall. My favorite examples are Blue is the Warmest Color and American Honey. What the fuck do you want with me now Ray_Shittens1707
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Film Socialism
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99.9999% of rock is crap
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Post by Film Socialism on Mar 19, 2017 1:51:18 GMT
pop songs used for transcendence
avant-garde horror moments (think Pulse)
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Post by moviebuffbrad on Mar 19, 2017 3:07:13 GMT
I love a good "pan through something" shot. Fincher used to do this a lot, ie the coffee pot in Panic Room. Long takes as well, more so in action sequences (Oldboy, Creed, etc).
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Post by mhynson27 on Mar 19, 2017 3:19:26 GMT
I love a good "pan through something" shot. Fincher used to do this a lot, ie the coffee pot in Panic Room. Long takes as well, more so in action sequences (Oldboy, Creed, etc). Yeah, long takes is one for me as well. Haven't seen Panic Room but just checked out that scene and wow that was an awesome shot and 'long take' scene as a whole.
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raybee
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Post by raybee on Mar 20, 2017 7:05:06 GMT
Ordinary sounds emphasized and enhanced (windmill in Once... in the West)
Long held wordless close-ups (Girl with a Suitcase, Yearning, Birth)
Night scenes with stars down to horizon (Cast Away)
Passing trains (Pather Panchali, Doctor Zhivago, Maborosi) + close & fast (Umberto D)
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Post by HorrorBuff7193 on Mar 21, 2017 0:19:37 GMT
Handheld camerawork used for realism. (Rosetta, 4 Months 3 Weeks and 2 Days) Romance films where the outcome is ambiguous (Before Trilogy) Films that are set in a limited time (Weekend, Dazed and Confused)
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rhodoraonline
Badass
Your Generosity Hides Something Dirtier and Meaner
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Post by rhodoraonline on Mar 21, 2017 7:08:41 GMT
Nonlinear timeline (500 Days of Summer; The Prestige; Batman Begins).
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Post by JangoB on Mar 21, 2017 8:07:20 GMT
I rather enjoy slow push-ins. PTA is the king of those. Especially because his camera really seems to be pushed in by actual people - in some movies push-ins are too lean and clean, too mechanical. But in the PTA films you just somehow feel that the camera is being slowly pushed by a person, you can even see it shaking ever so slightly at times. Great stuff.
I also love when filmmakers and cinematographers use strong rays of light, like coming from the windows or something. The courtroom scene in "True Grit" is a good example of that, or everything that Janusz Kaminski and Spielberg do. I love that effect so much, for me it instantly makes a movie more cinematic. It doesn't look anything like real life, it's so specific to the movies and that's what makes it so incredible.
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wonky
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Post by wonky on Mar 21, 2017 8:07:42 GMT
Love a good bit of well-written/staged/acted/edited overlapping dialogue, especially in a big group scene. Altman is obviously the go-to...one that just randomly springs to mind is the airport diner scene at the beginning of Nashville, shit like Sueleen casually singing "Never Get Enough" at the counter with all those other conversations audibly going on, perfect naturalism. Another I'm thinking of is the party scene in Punch-Drunk Love, the sisters chattering "gay boy" and all that as he goes through the kitchen. You can just feel when that din sounds right and when it's faked in other movies, regardless of whether or not it's all written out or just improvised (there are obviously lots of counter examples; I always felt like the Harry Potter movies were kinda bad at it for various reasons.) Hard to capture that peripheral sound and feel like it perfectly matches the visual space and appropriate amount of detail and everything, but it's so immersive when they nail it.
Also Spielberg one-ers. I was pretty thrilled when Every Frame a Painting made that video and got people talking about his particular knack with those.
Actually he's good with those dialogue scenes too, undervalued reason why his blockbuster stuff tends to convince more than others' imo.
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wonky
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Post by wonky on Mar 21, 2017 8:13:26 GMT
I rather enjoy slow push-ins. PTA is the king of those. Especially because his camera really seems to be pushed in by actual people - in some movies push-ins are too lean and clean, too mechanical. But in the PTA films you just somehow feel that the camera is being slowly pushed by a person, you can even see it shaking ever so slightly at times. Great stuff. I feel like in The Master there are times when you can really see the weight of that camera. Like the long follow on Freddie and the customer's brawl in the shopping center, or the "A Roving" scene when it does that beautiful slide through the chairs following Dodd skipping in and out of the back room. There's something old-school about the way that looks, a slight drag to it like you say.
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Deleted
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Post by Deleted on Mar 21, 2017 8:16:44 GMT
Gonna mention the ones unmentioned yet. Fast editing using other images (animated normally for comic relief) for expressing the concluding reaction of the person. The Quaalude scene of The Wolf Of Wall Street is the perfect example for this. Usage of mirrors to show reactions of all in one still. Steve Jobs (The Things We Could've Done Together) and Atonement ( that shot of Keira, dressing up ) are major examples. Also, whatever the fuck Boyle does to make his films look his, I don't have a name for it, but I fucking dig it like something.
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Post by mhynson27 on Mar 22, 2017 7:31:50 GMT
When something from the 'movie world' ends up on the lens, e.g. blood in Children of Men and water in Gravity.
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Post by mikediastavrone96 on Mar 22, 2017 15:46:55 GMT
Jumping off what wonky said, I really dig a well-blocked scene. The staging and coordinated movements of the actors in-camera can really add a great bit of visual flair and immersion into the film in a way that stiff mediums, over-the-shoulder shots, and quick editing just can't. It's that ability to to be able to watch a film a film on mute and still comprehend what's going on. It's an essential aspect of film form that most directors just don't seem to take much care in, and which sadly never seems to be discussed among critics or film fans. Without great blocking, films like Mad Max: Fury Road and Who Framed Roger Rabbit? wouldn't be half as good as they are. For me, attention to blocking is what separates decent filmmakers from good ones and good filmmakers from great ones. Spielberg is the modern master, but Kurosawa may be the all-time template for what a film can achieve through attention to blocking. Musical/dance sequences in non-musicals. Character-focused sound design (ex. ringing in the ear in The Pianist, the ramping of music in Creed during intense training or fight sequences). I don't know why, but I really dig rack focus. Something about it just works for me.
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Post by thinwhiteduke on Mar 22, 2017 16:02:09 GMT
Foreskin: Orlando Bloom, Jude Law, and Michael Fassbender specifically.
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Post by Tommen_Saperstein on Mar 22, 2017 16:13:29 GMT
Also, whatever the fuck Boyle does to make his films look his, I don't have a name for it, but I fucking dig it like something. Watching the T2 trailer really does remind one how distinctive his visual style his. I don't know how to characterize it either. He uses a lot of dutch angles and close-ups for starters. And his camera seems like it's alwaaaaaays moving.
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Post by Tommen_Saperstein on Mar 22, 2017 16:13:58 GMT
Male nudity.
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Post by mizzaphoenix on Mar 22, 2017 21:02:41 GMT
I know a lot of people dislike them, but I love it when films have voiceovers.
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Post by Sharbs on Mar 22, 2017 21:21:01 GMT
Silhouettes all day errday
Prisoners and The Assassination of Jesse James have my favorite silhouette shots
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Post by bobbystarks on Mar 22, 2017 22:18:19 GMT
Raw, visceral, slice of life type films where it doesn't even feel like you're watching actors or watching a film. You just feel like a fly on the wall. My favorite examples are Blue is the Warmest Color and American Honey. You've to see The Ascent (1976), has the same style with American Honey but with Horror tone, amazing stuff. Thx 4 the rec Raymundo
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