True Detective Scene Analysis
In the example scenes from True Detective (Cary Joji Fukunaga, 2012) analyse and discuss an ontological shift from movie theatres to home-based cinema ‘screens.’
“The Golden Age of Television” is a phrase often used to describe today’s entertainment landscape, with successful shows such as ‘Breaking Bad’, ‘Game of Thrones’ and ‘House of Cards’ getting huge viewing figures underpinned by undeniably high quality content. This shift in the quality and ambition of television marks a change in its ontology but what effect has this had on cinema? Quentin Tarantino, Oscar winner and indie cinema legend, has, with an eye to the rise of digital projection, referred to modern cinema as “TV in public” and suggested that soon he will retire from working …show more content…
It employed a complex narrative structure based around flashbacks to give the viewer an in-depth view of a murder case spanning 1995 to 2012. Specifically, it provided the differing perspectives of the two Detectives investigating the case (Rustin Cohle played by Matthew McConaughey and Martin Hart played by Woody Harrelson). The season ran for eight episodes and all were written by Nic Pizzolatto and directed by Cary Joji …show more content…
Truffaut then went on to develop this idea and suggested that an Auteur was a practitioner doing original and distinctive things with a personal and unique perspective [7]. In Fukunaga’s latest film ‘Beasts of No Nation’, which tells the story of a young boy in war torn Africa who is forced to become a child soldier, he again makes significant use of the ‘oner’ as a stylistic device. I think most poignantly in the scene where Agu (the protagonist) enters a house with his his army unit and comes across a woman who he initially believes is his mother. When he realises she is not, he lets his friends rape her, kill her daughter and then shoot her. Although this scene is shot in a similar way to the previously mentioned ‘stash house’ scene from True Detective, I would compare it to the house invasion scene from the episode ‘The Secret Fate of All Life’. In this scene the viewer hears the version of events Martin Hart tells the police, then sees what actually happened – they enter the house illegally, find the children (one of whom is dead) and proceed to kill their unarmed captor and his accomplice. I would compare these scenes because I think they are both good examples of common features in Fukunaga’s work. In both scenes we see the loss of innocence; in True Detective it is when we realise that the
“The Golden Age of Television” is a phrase often used to describe today’s entertainment landscape, with successful shows such as ‘Breaking Bad’, ‘Game of Thrones’ and ‘House of Cards’ getting huge viewing figures underpinned by undeniably high quality content. This shift in the quality and ambition of television marks a change in its ontology but what effect has this had on cinema? Quentin Tarantino, Oscar winner and indie cinema legend, has, with an eye to the rise of digital projection, referred to modern cinema as “TV in public” and suggested that soon he will retire from working …show more content…
It employed a complex narrative structure based around flashbacks to give the viewer an in-depth view of a murder case spanning 1995 to 2012. Specifically, it provided the differing perspectives of the two Detectives investigating the case (Rustin Cohle played by Matthew McConaughey and Martin Hart played by Woody Harrelson). The season ran for eight episodes and all were written by Nic Pizzolatto and directed by Cary Joji …show more content…
Truffaut then went on to develop this idea and suggested that an Auteur was a practitioner doing original and distinctive things with a personal and unique perspective [7]. In Fukunaga’s latest film ‘Beasts of No Nation’, which tells the story of a young boy in war torn Africa who is forced to become a child soldier, he again makes significant use of the ‘oner’ as a stylistic device. I think most poignantly in the scene where Agu (the protagonist) enters a house with his his army unit and comes across a woman who he initially believes is his mother. When he realises she is not, he lets his friends rape her, kill her daughter and then shoot her. Although this scene is shot in a similar way to the previously mentioned ‘stash house’ scene from True Detective, I would compare it to the house invasion scene from the episode ‘The Secret Fate of All Life’. In this scene the viewer hears the version of events Martin Hart tells the police, then sees what actually happened – they enter the house illegally, find the children (one of whom is dead) and proceed to kill their unarmed captor and his accomplice. I would compare these scenes because I think they are both good examples of common features in Fukunaga’s work. In both scenes we see the loss of innocence; in True Detective it is when we realise that the