Action cinema


genres: Many cinemas qualified as “action cinema” can be linked to other cinematographic genres. For example, Terminator has been called an “action movie”, but it is above all a science fiction cinema because of the themes it addresses: time travel, cinema. Likewise, Lethal Weapon is a detective film before being an action cinema since it has a detective plot.  On the other hand, challenging to attach Crystal Trap to any other category than action cinema because this film does not include) no element likely to link it to science fiction or fantasy, nor adventure film or even less to war cinema. From a specific perspective, one could qualify it as a thriller because of its intrigue behind closed doors, which gives rise to tense situations.

The many spectacular scenes that punctuate all these feature films (multiple explosions, fights, falls into the void) have earned them the title of “action films”. To say that a film does or does not belong to action cinema is, however, a subjective judgment. .Thus, some critics will qualify westerns, peplums or gangster films as “action films”, which is not done by viewers for whom an “action film” is synonymous with great explosions and serial destruction, and serial destruction, and for whom this expression does not evoke John Wayne or Charlton Heston but of a sci-fi action film.


Action cinema is essentially linked to popular cinema. A significant number of his works end with a “cheerful closure” and depend on components natural to the overall population (solid and brave legend, appealing female character with whom the last will have an unsanctioned romance, scandalous lowlifes, funny supporting job, and so on. Action cinema is often criticized for attaching slight importance to the psychological depth of their characters and for relying on stereotypical plots, which are, in some works, only a pretext to spare the scene. End of the Action.

Its conscious absence of authenticity additionally describes activity film. It is not uncommon to see a hero there single-handedly kill a hundred villains armed to the teeth and dodge all the bullets they shoot at him(True survive an explosion with only a few scratches Wings of Hell), or escape unca… 524 words  Shakespeare’s Romeo and Juliet Essay In cinema there was a lot more violence It, therefore, seems logical that the contemporary action film tends more and more towards self-parody ( Last Action Hero ).

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The chases in cinema and television are usually scenes in which one or more vehicles pursue others. Historically the first chases were foot chases (in the 1920s, the policeman chasing after Charlot). The chases have become common in movies, Action, police movies or even comic films; they fit easily into a scenario. They make it possible to speed up its pace at little cost (generally, the budget allocated to such scenes is not very high). In addition, they are not strictly speaking violent scenes, and they are therefore intended for all audiences.

Car chases, especially in cars, have always existed in cinema, but the first modern chase is generally considered to have been made for Bullitt’s film ( Peter Yates, 1968 ). In this film, McQueen, the film’s lead actor, can be seen behind the wheel, even in the most intense moments.

Many movies, especially action movies, include some form of the chase and try to “renew” the genre.

E cameras are placed inside the cars, which puts the viewer at the heart of the Action. S

To increase the effect, many directors try to introduce innovative or incongruous elements. We were thus able to see chases using all imaginable vehicles ( buses, tanks, bicycles, …), including vehicle changes (possibly between moving vehicles), variable geometry chases (one chasing the other, but itself pursued by others or the police) or dangerous external elements (other vehicles, atmospheric circumstances, explosions, etc.).

It’s difficult to say what matters between an average, great and excellent pursuit.

Besides the purely spectacular quality of a chase, one can estimate that this one will produce its best effect if the spectator identifies with either the pursuer or the pursued. Therefore, it will produce maximum effect if the filmmaker has succeeded in creating believable characters to feel negative or positive emotions.

It is also possible to connect the pursuits mentioned above and the films whose object is tracking or pursuing a person.

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