Word: realisms
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There's no surer sign of a fading soap opera than a lurid plot twist. Unlike their glossy American counterparts, British soaps traditionally aim for stolid social realism, depicting ordinary folk pursuing humdrum lives. Now dwindling audiences are spurring producers to unleash implausible killers and gothic disasters on their workaday protagonists. Take the hapless citizens of Walford, a fictional London borough that is the setting for EastEnders, one of Britain's top-rated soaps. Recent episodes have seen a troubled adolescent kidnap his estranged stepfather, chip-shop owner Ian Beale, to exact revenge for his psychopathic mother's death...
...said, ‘Well, that’s gonna go in it.’”Collective cinema or not, Anderson has certainly established his own style of movie making—the pre-planned details, the free-formed production style, the collaborative process, the fictional realism. We know what it ends up looking like on film, but do the many parts of the Anderson machine build towards making or spreading a bigger message? Perhaps. He used the example of sand dunes that he saw in India. “Sometimes,” Anderson explained...
...know, you're somewhat constrained in writing a novel, I think. Like, I'm not a fan of some of the Latin American writers, magical realism. You know, it's hard enough to get people to believe what you're telling them without making it impossible. It has to be vaguely plausible...
...their portrayals of Elizabeth as a breathing, feeling, and mortal being. Because history credits her reign as one of the most prosperous and glorious of England’s past, the embarrassingly naïve and volatile young Elizabeth from the first film brings a fresh element of realism to the legend of the personality. In this second film, however, Elizabeth is vulnerable in a different way: she has to work to govern herself as well as her kingdom, and she must learn to accept her demanding and often lonely role as Queen of England. The camera often peers down...
...Michael Mann, who made the small- and big-screen versions of Miami Vice. The Mann style is everywhere evident: in the prowling camera and elliptical editing, the pile-driving music (a surprisingly formulaic score by Denny Elfman), the gigantic, pore-probing closeups of the actors' faces, the vigorous ersatz-realism. Everything moves so much and so fast that the movie seems both gutsy and brainy. But the main strategy is to keep viewers' pulses racing so they concentrate on the action, not the message...