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The `` chase '' as a standard film device probably dates from The Great Train Robbery, and there is a reason for the continued popularity of the device.
The chase in itself is a narrative ; ;
it presumes both speed and urgency and it demands cutting -- both from pursued to pursuer and from stage to stage of the journey of both.
The simple, naked idea of one man chasing another is of its nature better fitted for the film than it is for any other form of fiction.
The cowboy films, the cops and robbers films, and the slapstick comedy films culminating in an insane chase are not only catering to what critics may assume to be a vulgar taste for violence ; ;
these films and these sequences are also seeking out -- instinctively or by design -- the peculiarly cinematic elements of narrative.

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