Vinsamlegast notið þetta auðkenni þegar þið vitnið til verksins eða tengið í það: http://hdl.handle.net/1946/26633
This thesis uses a detailed analysis of the 2015 sci-fi action film Hardcore Henry to explore the cinematic relationship between speed, shifts in our socioeconomic landscapes with the digitisation and economisation of knowledge and information, and the intensification of masculinity and gender roles in contemporary action cinema.
The thesis is split into 3 sections; the first section is a short analysis of Hardcore Henry, where we examine the characteristics of the film and what makes particularly noteworthy in the canon of contemporary action cinema. We find that the film is noteworthy for two particular reasons; the first was the way that director Ilya Naishuller directed the film entirely in the first-person subjective shot. The second was the way that film incorporated into its cinematography, narrative, and structure, elements of PC and console gaming.
The second section takes Hardcore Henry and places it in the context of the history of cinematic technology and theory. What I show is that far from a break from tradition, Hardcore Henry is but the latest iteration in what is a historic drive by cinema to articulate the speed and movement of society thanks to the development of cameras, technical support, and editing technology alongside the formation of theory and editing techniques that convey a sense of action and energy to a fast paced narrative. The third section situates Hardcore Henry along sociocultural and political-economic lines, where we see a historical shift from Michel Foucault’s idea of a disciplinary society, to Gilles Deleuze’s concept of a control society. In this shift we note how the film embodies the cultural changes brought by the advancement of digital technologies, cybernetics, and game theory on our social reality, as well as how the acceleration and intensification brought on by a episteme of control have enabled the digitisation and convergence of several cultural forms, as well as intensifying homogeneous representations of masculinity found in contemporary action cinema.
|BA Thesis - declaration - Bob Cluness.pdf||278.08 kB||Lokaður||Yfirlýsing|