The latest edition of MediaMagazine (September 2011) features my extended essay analysing the Omaha Beach Landing sequence at the start of Steven Spielberg's Saving Private Ryan. Accompanied by a one-page frame-by-frame illustration, the text examines the rationale behind the sequences Vérité style and the shift in the meaningful value of the shots used by Spielberg. Here is a brief extract:
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For Miller, the slow motion functions as a representation of how he is witnessing the events for it visualises the horror of his experience - he is surrounded by a chaos of noise and movement, seeing not only death but the dreadful massacre of his men, all of which is too much for him to comprehend or bear witness to. The effect of the slow motion amplifies the horror by fragmenting its depiction into briefly frozen moments; but it also implies that Miller himself is trying to edit out the intensity of the violence by 'missing out' certain frames of action.
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Love your work in media mag Mr Rose! Going to be using the SPR article in my film studies classes so thanks very much!
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