Comment on Furiosa's Box Office Opening Explained: What The Hell Happened With The Mad Max Prequel?!

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rezz@lemmy.world ⁨5⁩ ⁨months⁩ ago

Yes, objective relative to the rules or conventions of visual storytelling in an anatomic sense. This means the literal structure of the action and its values relative to characters.

Each shot (that is not in a moment of montage) has a quantifiable beginning-middle-end that is motivated by the character’s actions on the screen, and again nested inside of the sequence or scene. The reason most people experience the pace of Mad Max as unrelentingly brisk is because due to the lack of wasted frames on characters. It is hyper efficient. There isn’t a single shot-reverse shot dialogue in the whole film. There isn’t unmotivated action. There is not an unnecessary or missing character on screen. And the framing from edit to edit does not yank your eye somewhere it’s not meant to be.

Compare this to another all-time action film, Bourne Ultimatum—which has an insane volume of superfluous or narratively unmotivated camera coverage in its action. Literally the action 50% of the time, while utterly spectacular, does not advance the characters at all, and certainly does not have an opinion of its action to infer from the camera choices.

You’re also completely entitled to not care and think it’s boring! But there are definitely objective storytelling mechanics that are binary insofar as they are present or not on a scene to scene, shot to shot basis.

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