Titel: | A Real Human Being and a Real Hero: Stylistic excess, dead time and intensified continuity in Nicolas Winding Refn’s Drive; |
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Beteiligte: | , |
In: | New Cinemas: Journal of Contemporary Film, 12, 2014, 1, S. 43-57 |
veröffentlicht: |
Intellect
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Medientyp: | Artikel, E-Artikel |
Umfang: | 43-57 |
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ISSN: |
1474-2756
2040-0578 |
DOI: | 10.1386/ncin.12.1-2.43_1 |
veröffentlicht in: | New Cinemas: Journal of Contemporary Film |
Sprache: | Englisch |
Schlagwörter: | |
Kollektion: | Intellect (CrossRef) |
<jats:title>Abstract</jats:title> <jats:p>This article sets forth that Nicolas Winding Refn’s Drive (2011) exhibits a ‘complex transformation’ of an American film genre by foregrounding features associated with art cinema and, more specifically, European and auteur film-making. We argue that the film’s appeal derives precisely from an intelligent and cine-literate deployment of the tensions in this dichotomy of European/American film-making. As such, Drive is a film that foregrounds or reveals its own construction in a number of ways, but its appeal lies in the fact that it does not prevent intense emotional engagement on the part of the viewer. It is neither a cold exercise in mere style nor a simple copy of an earlier formula, but rather a film that manages to marry a number of narrative and stylistic features in such a way that the film itself, arguably, is not easy to categorize.</jats:p> |