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Oliver Stone's mastery of a diversity of visual styles, editing, along with concurrence makes JFK more or less seem interactive. This movie won Oscars for Best Cinematography and Editing. This movie integrates scores of diverse styles, film stocks, and pace to craft an intact that seems pieced collectively from shreds of reminiscences and deception. It provokes to make points and attempt to work them out. Stone and his skilled cinematographer, Robert Richardson, work in each pertinent visual medium: 35mm, 16mm, Super 8, 8mm, video, still photos, color, black and white.
'This is a film in which the real and the imagined, fact and fiction, keep shading into one another.' (Auchincloss 1991: 47) This provokes the already mentioned alertness in the viewer, since JFK with its visual patchwork "challenges the spectator to confront the simple and problematic distinction between documentary and fiction. Indeed, the film's political implications reside in part in how it succeeds at posing this challenge, in whether it prompts viewers to consider how central to the writing of history are questions about access to and organization of images" (Simon 1996: 215). http://www.literaturdigital.de/jfk.html.
'JFK' movies like a high tech suspenseful story which merges the most fascinating photography as well as impressive editing ever seen in action pictures. The thrilling visual effects the temperamental lighting; feral camera angles; assorted film accumulation; color, black and white, and sepia blends; videos; computer graphics and morphing; animatronics and cartoons; gritty old newsreels, blinking, glistening, and enduring on the screen light up the obscurity and inconsistency of character confronting fate, of will forced on destiny.
“Much of the supremacy of this film comes from its editing. Scrutinize the editing and shot masterpiece of subsequent sequences and enlighten the editing's effect, its capability to offer commentary through the succession of metaphors”.
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The story of JFK endeavors to tie together the distinct strands of the multifaceted assassination case in the figure of Jim Garrison. However the elaborate and assorted clutter of images and the nonlinear tableau of incongruent time frames and its swift alterations of visual perceptions often functions as an undermining counterpoint to a narration that endeavors for precision. Though the narrative monologues of X and Garrison endeavor to gather the plot strands into a seamless stability, the images often oppose what is being narrated and push haziness into the forefront. And it is specifically the inconsistent relation of epistemological conviction and concern which is adorned in the stress between voice track and image track. It is due to the need of a reliable prototype for the consumption of diverse film stocks that this volatility of the image track is interpreted.
Here I’ll discuss some scene which discuss about the visual style of the movie.
The scenes of definite newsreel footage in black and white are mixed together with Stone’s gathered soundtrack, varying in swift sequence so that the audience is escorted to deem they witness purpose history presented on screen. In the beginning, the commentary accompanying the movie or shots seems to be that of a critic talking concerning truth, reviewing from the accent, which is somewhat flat, or speech, which is to a certain extent fast. At this juncture the score should not be deserted: military music emphasizes the newsreel video recording, and as soon as secretive pictures of John F. Kennedy are revealed, violins take over, marking a jagged disparity to the striding music in order to provide the whole string a calm touch. This is in fact a very restrained means of persuading, the audience which is entirely engrossed in the portrayal of a daring, stunning man who pledged to usher an period of change, who saved the humanity in the Cuba crisis, who conversed about constitutional rights questions and who speaks regarding serenity.
The next scene which I like to discuss is a woman being thrown out of a moving car. She seems to be psychologically ill, so she is brought to sanatorium where she talks regarding a plot to exterminate the President. The subsequent few shots are newsreel video recording of November 22, showing Kennedy and his wife on their initial station on their journey to Texas. Here the speed of the movie seems to increase speed, the shots getting shorter and shorter. The framework turns to the pageant again. Stone uses the Zapruder movie to limit advantage here: The real Kennedy on his ultimate pageant ride. People applaud. The president waves at watchers. They respond him back. The car slows after that thing transform eternally. An unexpected, hasty break stirs up the audience. It does not perceive sound of gunshots however a sound bordering on a depiction being taken, a picture shot.
The third scene I like to discuss is the string which shows Garrison in his office, seated. One of his employees tells him the report which explodes him noticeably. Both hurry to a tavern with a TV set. Watching the official statement, he fights with moan. This is pursued by the reporter voice:” President Kennedy died.” The camera shifts into a lock up of Garrison, instantly pursued by an African-American woman exhibited on the TV screen, howling for the President, whereas at the other side of the bar one palpable Kennedy opponent claps his hands.
In conclusion, I must say that Stone brilliantly constructs history through the production, arrangement and understanding of images. The way Stone communicates his adaptation of the event by the aggressive play of voice and image track, which is extolled into the film's construction which makes this film as imagery of Stone’s.
White, Hayden (1996), 'The Modernist Event' in Sobchack, Vivian (1996).