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Unruly MediaYouTube, Music Video, and the New Digital Cinema$
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Carol Vernallis

Print publication date: 2013

Print ISBN-13: 9780199766994

Published to Oxford Scholarship Online: September 2013

DOI: 10.1093/acprof:oso/9780199766994.001.0001

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The New Cut-Up Cinema

The New Cut-Up Cinema

(p.33) Chapter 1 The New Cut-Up Cinema
Unruly Media

Carol Vernallis

Oxford University Press

David Bordwell calls the new post-classical cinematic mode “intensified continuity.” Stylistic markers include prowling cameras, constant reframing, and rapid-fire editing. While many scholars have described the visual dimension of this style, they have said little about the soundtracks. This chapter shows how music and sound help structure this new prismatic cinema. These films showcase a variety of musical styles, often mingling American pop and traditional Hollywood scoring with other, more distant musical practices. They may also include heightened sequences in which lighting, dialogue, gesture, music, and sound effects work “musically.” Audiovisual aesthetics may also support large-scale structures. Films like The Bourne Supremacy and Day Watch possess multiple strands and place the viewer “too close” to characters who do not fully comprehend their predicaments. In the musical interludes, the music reflects the characters’ psyches but also provides a bird’s-eye view that works to provide large-scale form for highly kaleidoscopic material.

Keywords:   Post-classical cinema, aesthetics, digital, soundtrack, music video, David Bordwell, intensified continuity, Paul Greengrass, The Bourne Ultimatum, style, Martin Scorsese, Bringing Out the Dead, audiovisual, Timur Bekmambetov, Day Watch

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