Last updated August 30, 2012
A video tribute to Tony Scott, "[A] vigorous and energetic filmmaker extraordinaire"
Filmmaking is like painting…Every stroke or every color impacts another and you build film on the canvas and you get ideas from the last stroke. [Tony Scott, audio commentary, Domino DVD] [T]he minute a viewer begins to notice style for its own sake or watch works which do not provide such thorough motivation, excess comes forward and must affect narrative meaning. Style is the use of repeated techniques which become characteristic of the work; these techniques are foregrounded so that the spectator will notice them and create connections between their individual uses. Excess does not equal style, but the two are closely linked because they both involve the material aspects of the film. Excess forms no specific patterns which we could say are characteristic of the work. But the formal organization provided by style does not exhaust the material of the filmic techniques, and a spectators attention to style might well lead to a noticing of excess as well. [...] Probably no one ever watches only these non-diegetic aspects [...] through an entire film. Nevertheless, they are constantly present, a whole "film" existing in some sense alongside the narrative film we tend to think of ourselves as watching. [Kristin Thompson, The Concept of Cinematic Excess, Ciné-Tracts, 1.2, Summer 1977, pp. 55-56]
Hollywood action scenes became ‘impressionistic,’ rendering a combat or pursuit as a blurred confusion. We got a flurry of cuts calibrated not in relation to each other or to the action, but instead suggesting a vast busyness. Here camerawork and editing didn’t serve the specificity of the action but overwhelmed, even buried it. [David Bordwell, A Glance at Blows, Observations on Film Art, September 28, 2008]
In classical continuity styles, space is a fixed and rigid container, which remains the same no matter what goes on in the narrative; and time flows linearly, and at a uniform rate, even when the film’s chronology is scrambled by flashbacks. But in post-continuity films, this is not necessarily the case. We enter into the spacetime of modern physics; or better, into the “space of flows”, and the time of microintervals and speed-of-light transformations, that are characteristic of globalized, high-tech financial capital. [Steven Shaviro, Post-Cinematic Affect: On Grace Jones, Boarding Gate and Southland Tales, Film-Philosophy, 14.1, 2010]
The essential characteristic of the acid aesthetic is the employment of early twentieth century hand-crank cameras. Loaded with high-speed reversal film, they are manually cranked forwards and backwards during the shooting, and afterwards cross-processed in an inappropriate developer. The results are quite extreme and fairly unpredictable: multiple exposures within one or more images, high contrasts and de-saturated colors, abrupt visual jolts of overexposed lighting, increased grain activity and discernible smears, cracks and trails on the frame, which add an air of physical authenticity. Film becomes tangible in this aesthetic equation. The analogue form, generally masked in the classical continuity style, is revealed, indeed placed in the foreground. Footage from digital cameras further provides an occasional visual counterpoint to the stylized primitivism of the hand-crank aesthetic, presenting crisp, overly saturated images, which seem, by contrast, manufactured and purely synthetic. The result is a dialectic of control and chaos, with the latter as the defining crux. [...] What becomes clear here is that Scott’s acid aesthetics put on display the cinematic apparatus itself, the process of constructing moving images, both in analogue and digital form. The resulting casualty is the concept of filmic realism. The gained impression is not the order of continuity but the chaos of stylistic transparency, an illustration of the formal potentialities of film, unrestrained by storytelling conventions.
[...] A blend of analogue and digital filmmaking lays bare the inner mechanics of cinema, its texture, emphasizing the process of manipulating and creating moving images. Film, in this regard, can be conceptualized as an enormous canvas, to be filled with color. It is not a coincidence that Tony Scott was trained as a visual artist and generally views himself as such, a cinematic painter. Thus, he constructs rather than documents images, both in the camera and on a post-production computer setup. In Scott’s hands, cinema rediscovers its ability for overt stylization, not eroding, but at least de-privileging what Christian Metz calls the realistic cinema-effect, in favor of a display of cinematic technique. In the words of Lev Manovich, cinema is then “no longer a kino-eye, but a kino-brush”. And indeed Scott’s filmmaking transcends the mere realm of visual representation. Wielding the camera like a brush, and similar to Alexandre Astruc’s pen, the caméra-stylo, he sprays, splashes and splatters paint onto the canvas, producing an expressionistic chaos, reminiscent of paintings by Jackson Pollock. Notwithstanding the overt experimentalism, all this activity is framed by the generic conventions of Hollywood story material. The margins of Scott’s canvas are defined by the tenets of traditional and, with regard to Man on Fire and Domino, arguably quite clichéd narrative. In this regard, Scott’s cinematic paintings become more than just a display of style, namely an unrestrained sensory assault of visual abstraction that, in a postmodern twist of meta-textual discourse, exposes the process of moving image construction, and thereby reconfigures the traditional notion of what mainstream cinema should look like. [Excerpts from Matthias Stork, Acid Aesthetics: Tony Scotts Cinema of Chaos, SWTX Popular and American Culture Conference, Albuquerque, New Mexico, February 2012]
I have cautiously championed Tony Scott’s recent work because at least he’s willing to go all the way, however misguided the direction. From Spy Games on, he has stuck to the credo that too much is never enough. His technique is swaggering and undisciplined, mannered to the nth degree. Yet I find his fevered visuals more genuinely arresting than the safe noodlings of most of today’s mainstream cinema. Man on Fire and Déja Vu reheat their genre leftovers into something spicy, if not nourishing, while Domino, the cinematic equivalent of hophead graffiti, wraps its sleazy characters in a visual design apparently inspired by the glowing interior of a peepshow booth. [David Bordwell, 50 Days of Summer Movies Part 2, Observations on Film Art, September 12, 2009, hyperlink added by FSFF]
Tony Scott’s need to push the boundaries of the postclassical into the classical-plus and the hyperclassical with Man on Fire and Domino suggests a growing impatience with intensified continuity and the postmodern condition. In Top Gun and even True Romance the audience can easily float with the surface structure and identify with the fantasy of transcending both physical space and cultural time. But in Man on Fire and Domino the audience cannot ignore the deaths of Denzel Washington, Edgar Ramirez, and Mickey Rourke, the irrevocable loss of continuity, and the status of the image not as synergistic decoration or digital simulacrum, but as a symptom and agent of cultural flux and despair. Even in Deja Vu, which retreats somewhat from the volatile aesthetic of Man on Fire and Domino, Scott makes postclassical narrative hyperclassical by allowing Denzel Washington to inhabit the past and present simultaneously. Deja Vu, with its post-Katrina New Orleans, opening terrorist attack, and urgent desire to traverse time and prevent the death of Paula Patton, suggests a shell-shocked United States unable to understand the past or ponder the future — Denzel, in a Butterfly Effect-like matrix of temporal frequency and repetition, dies in one narrative thread even as he emerges unscathed in another. Scott pushes the boundaries of narrative time and space so far he doesn’t need the vomit comet or Domino-Vision to achieve the same measure of indeterminacy. Man on Fire, Domino, and Deja Vu suggest that the only sin Tony Scott has committed is not to anticipate the hyperclassical and the classical-plus sooner. [Larry Knapp, Tony Scott and Domino — Say hello (and goodbye) to the postclassical, Jump Cut, 50, 2008]
Film Studies for Free was shocked, like everyone else, by the news of Tony Scotts death yesterday. Following the news, much of the day was spent reading
online assessments of his important filmmaking career.
These frequently centered, of course, on the role of excessive style in his work, and its (some would say, concomitant) lack of narrative motivation. The ground was thus laid for todays tribute list of more than fifty links to academic studies centering on the debates about cinematic excess, as well as on issues of intensified (or post-, or Chaos) continuity in contemporary film aesthetics.
Rather incredibly, at the weekend, Matthias Stork, talented author of the video essay series on
Chaos Cinema, had sent
FSFF a link to a draft version of a new video essay featuring Tony Scotts work, which explored some related issues regarding contemporary film aesthetics. Following yesterdays awful news, Stork worked around the clock to develop that essay to provide an important tribute to Scotts work. You can see the video at the top of this entry, and also at Storks Vimeo page
Cine-Essais.
For more tributes to Scott, an essential round up is given at David Hudsons post devoted to
Tony Scott, 1944 – 2012 at Fandors Keyframe Daily website.
A very big
Danke schön goes to Matthias Stork for all his essential contributions to this entry.
- Steven William Allen, A pleasure in pain: contemporary mainstream cinemas fascination with the aestheticized spectacle of the controlled body, PhD Thesis, University of Warwick, 2003
- Chiara Armentano, "The Image-Interface": New Forms of Narrative Visualization, Space and Time in Postmodern Cinema, Reconstruction, 8.3 (2008)
- James Aston, Terrorist Attack!: The Spectacle of Evil in the Blended Horror of Cloverfield, Scope, no. 16, 2010
- Anustup Basu, Mantras of the Metropole: Geo-televisuality and Contemporary Indian Cinema, PhD e-thesis, University of Pittsburgh, 2005
- Jean Baudrillard, The Matrix Decoded: Le Nouvel Observateur Interview With Jean Baudrillard, [Translated by: Dr. Gary Genosko and Adam Bryx], International Journal of Baudrillard Studies, Volume 1, Number 2 (July 2004)
- Marko Bauer, Pure West: Drive, nostalgia for postmodernism, Senses of Cinema, July 22, 2012
- Tracey Biga, The Bulimic Excess and the Films of Peter Greenaway, Spectator, date unknown
- Michael Bloom, Rhetoric of Excess: Hyperbolical Irony as Transcendence in Blue Velvet, Offscreen Journal, Volume 13, Issue 9, 2009
- David Bordwell, 50 Days of Summer Movies Part 2, Observations on Film Art, September 12, 2009
- David Bordwell,Forking tracks: SOURCE CODE, Observations on Film Art, May 3, 2011
- Dave Boothroyd, Cinematic heroin and narcotic modernity, Symbolism: Journal of Critical Aesthetics Vol.VII , 2007
- Shaun Boutwell, The Appeal of Murder in Style: Aestheticization of Violence, Catharsis Theory and the Paradox of Horror Cinema, The Deuce: Grindhouse Cinema Database, 2012 (?)
- Nadia Bozak, Four Cameras are Better than One: Division as Excess in Mike Figgis’ Timecode, Refractory, Volume 14, 2008
- Thomas R. Britt, Death, Excess, and Discontinuity: On Lost Highway, Irreversible, and Visitor Q, Bright Lights Film Journal, 62, 2008
- Margaret Ervin Bruder, Aestheticizing Violence, or How To Do Things with Style,Film Studies archive, Indiana University, 1998
- Melanie Chan, Virtually Real and Really Virtual: Baudrillard’s Procession of Simulacrum and The Matrix, International Journal of Baudrillard Studies,Volume 5, Number 2 (July, 2008)
- Lucy Fife Donaldson, Access and Excess in The Texas Chain Saw Massacre, MOVIE, 1, 2010
- Paul Eisenstein, Devouring Holes: Darren Aronofskys Requiem for a Dream and the Tectonics of Psychoanalysis, International Journal of Žižek Studies, 1.3, Autumn 2007
- Matthew Ferrari, Reading Narrative Excess in MMA, Flow, December 4, 2009
- Asbjørn Grønstad, Transfigurations: Violence, Death and Masculinity in American Cinema Amsterdam, 2008)
- Leon Gurevitch, The Cinemas of Interactions: Cinematics and the ‘Game Effect’ in the Age of Digital Attractions, Senses of Cinema, Issue 57, 2010
- Christoph Huber and Mark Peranson, World Out of Order: Tony Scott’s Vertigo, Cinema Scope Online, 2012
- Bruce Isaacs, The Cinematic Real: Aesthetics and Spectacle, Sydney Studies in English, Vol. 33, 2007
- Dietmar Kammerer, Video Surveillance In Hollywood Movies, Surveillance and Society, 2(2.3), 2004
- Russell J.A. Kilbourn, Re-Writing "Reality": Reading The Matrix, Canadian Journal of Film Studies, 9.2, Fall 2000, pp 43-54
- Larry Knapp, Tony Scott and Domino — Say hello (and goodbye) to the postclassical, Jump Cut, 50, 2008
- Jon Lindblom, Toward an Ontology of the Image: Deleuze and the Aura of Simulation, Movement Editions, 2010
- Lev Manovich, What is Digital Cinema?, Manovich.net, 1995
- Lev Manovich, Cinema and Digital Media, in Jeffrey Shaw and Hans Peter Schwartz (eds), Perspectives of Media Art (1996)
- Lev Manovich, Moving Image Culture after Computerisation: an outline, 2003
- David Levente Palatinus, "Framing the Body, Staging the Gaze” Representations of the Body in Forensic Crime Fiction and Film, PhD Thesis, Peter Pazmany Catholic University Faculty of Humanities Doctoral School of Literary Studies Theories of Literature and Culture Program Piliscsaba 2009
- Stephen Papson, Baz Luhrmann’s Australia: when excess isn’t parody, Jump Cut, 53, 2011
- Michael Piggott, Time and film style, PhD Thesis, University of Warwick, 2009
- Nicholas Rombes, Avant Garde Realism, C-Theory.net, January 2005
- Jae Hyung Ryu, The Cinema of Special Effects Attractions and Its Representation of Reality: The Comparison between the Early Tricks and Digital Effects, Georgia State University, Georgia, 2004, (Thanhouser.org)
- Steven Jay Schneider, Killing in Style: The Aestheticization of Violence in Donald Cammells White of the Eye, Scope, June 2001
- Steven Shaviro, Post-Continuity: full text of my talk, The Pinocchio Theory, March 26, 2012
- Steven Shaviro, Post-Cinematic Affect: On Grace Jones, Boarding Gate and Southland Tales, Film-Philosophy, 14.1, 2010
- Steven Shaviro, Gamer, The Pinocchio Theory, December 15, 2009
- On Steven Shaviros Post-Cinematic Affect, In Media Res, August 29-September 2, 2011
- Steven Shaviro, Emotion Capture: Affect in Digital Film, Projections, Volume 1, Issue 2, Winter 2007: 63-82
- Steven Shaviro, The Cinematic Body Redux, originally published in Parallax 14:1 (February 2008), 48-54, The Pinocchio Theory
- Matthias Stork, In Touch with the Film Object: Cinephilia, the Video Essay, and Chaos Cinema, Frames, 1, 2012
- Wanda Strauven, The Cinema of Attractions Reloaded (Amsterdam University Press, 2006)
- David Surman, CGI Animation: Pseudorealism, Perception and Possible Worlds, Gamasutra Education Online, 2003/4
- Yvonne Tasker, Spectacular bodies: gender, genre and the action cinema, PhD Thesis, University of Warwick, 1995
- Kim Toffoletti and Victoria Grace, Terminal Indifference: The Hollywood War Film Post-September 11, Film-Philosophy, Vol 14, No 2 (2010)
- Kristin Thompson, The Concept of Cinematic Excess, Ciné-Tracts, 1.2, Summer 1977
- Magnus Ullén, The excess of porn: response to Julian Hanich, Jump Cut, 52, Summer 2011
- Anja Zagorac, "A Splinter in Your Mind": Subjectivity, Hyperreality, and Religion in The Matrix, Masters thesis, University of Vienna/Wien, May 2009
- Added Ignatiy Vishnevetsky, Smearing the Senses: Tony Scott, Action Painter, MUBI, August 22, 2012
