Film Methodologies – Point Break (1991)
Essay Preview: Film Methodologies – Point Break (1991)
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Many different methodologies are vital when examining film. Different aspects and methods of cinema analysis provide critics and audiences with various approaches to establishing certain genres or films. This essay will examine the specific methodologies of the action genre, a consideration of the art cinema and an auteur study. These styles are recognized in Kathryn Bigelows Point Break (1991) which provides strong examples of these techniques.
An action film is commonly recognized by audiences. The action film portrays strong characteristics and identifiable elements unique to the action genre. Fights, stunts, cars, foot chases, sex appeal and explosions are fundamental sequences of the action genre whereas; character development and well thought-out plot lines are often overlooked. The action genre therefore develops a stereotype that characterizes a film by incorporating such certain elements. Bigelows Point Break is stereotypically an action film, as it embodies these, and many more aspects essential to the action genre.
Many events in Point Break centre on powerful adrenaline pumping action sequences. Fighting takes place frequently and in many different environments. These situations build tension and provide entertainment. Fist fighting is not the only conflict confronted in Bigelows film. Shootouts involving rifles, pistols and shotguns are believed to be essential classics to a good action film. The predominant theme of bank robbery incorporates a mixed bag of violence, weapons and aggressive language. These events evoke powerful emotions from all characters on-screen, creating stronger action elements. Stunts involving explosions intrigue audiences. The imagery of a building or car exploding into the air is typically high intensity action. The situation before, during and after such events provides compelling entertainment. High spectacle stunts and effects are commonplace in the action genre such as Point Break. Both car and foot pursuits are worth noting in the films action archive. High speed car chases deliver an adrenaline and intensity only action audiences are frequent too. This intensity in Bigelows film heightens during the foot chase between Reeves and Swayze. Finally, sex appeal and the portrayal of the human body in the film, provides a core of entertainment in Point Break. Through its social theme of surfing and its objectification of both topless men and women, the genre contributes to its already profound stenotype. We must consider these themes in relation to an action genre study to entirely understand and examine and analyze the film Point Break; however, these are not the only themes and features to consider when establishing methodologies specific to the action genre.
There are elements of art house technique evident in Bigelows Point Break. Although typically an action genre film, it not only controls emotion, mood and style through themes and events on screen but also through its use of audio and visual manipulation. Focusing on visual styles Bigelow echoes a complexity, often introducing elements resembling art house aesthetics. The less conventional filming methods utilized in Point Break reveals an array of long shots, point of view shots, use of intensified continuity and quick cutting. The films themes primarily revolve around the typical action genre story which provides the film with a lot of its power. However, it is worth taking into account what and how these art cinema traits take affect to an audience in Bigelows film.
Long shots, usually of conversations frequently occur throughout Point Break. These shots sustain a level of depth many other films lack in the action genre. For example, during the fourth scene there is a long pan between Reeves and his partner. This could be used as a rendition of the conventional shot-reverse-shot film technique. The camera moves from left – right slowly however, because the camera is moving on a semi circle dolly track, we are able to view the conversation from an array of different angles. This stops the need for frequent cutting between shots and shot sizes. Long takes and shot size manipulation are well known examples of art cinema examples in Point Break. Although not common in the action genre, they are uniquely obvious in this film. A framed long shot of Reeves and Swayze stays stationary as they walked towards camera, however the camera continues to frame them from long wide shot – mid shot. This is very interesting as conventional cinema pieces tend to change shot angles and sizes frequently to make their films visually entertaining. Handheld point of view (POV) shots balance emotion and intensity with reality. Through the use of first