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New Aesthetic Form in Michael Mann’s Public Enemies

Thanks to Goga, who left me this link (on my Michael Mann social network site) to an interesting article on Public Enemies, an excerpt from which is below:

In making “Public Enemies,” Mann opted for digital high definition video for the very reason I once thought it could never achieve the aesthetic appeal of film imagery—its “nowness.” In interviews Mann has stated that in telling Dillinger’s anti-heroic, Depression-era story, he did not want the distancing, nostalgic look conveyed by conventional emulsions. Rather he wanted the viewer to have a sense of 1933 happening in the present, a visual “now” style which he said might suggest a “hyper-reality.” That style is as compelling as the narrative it underwrites. And having seen the movie a second time, closely studying the way the digital high definition camera can be used to create a new, uniquely expressive form of screen art, I must confess I can see a real future for it in movie theaters. With “Public Enemies,” Michael Mann has paved the way.

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