u/DexterMorganDaniel

Lo cerco da mesi e l’unico posto dove riuscii a trovarlo fu un sito straniero dove però non erano presenti i sottotitoli in inglese.

It's been three weeks since they said they would ship in two..

Faccio questa domanda perché da solo non riesco a rispondermi …

Few films know how to clarify the entire tone of the work with only one opening sequence without dialogue as Drive does. In fact, this sequence works practically as an anticipation for the rhythm of the entire film: it starts with a contemplative montage, the first frame reminded me of the opening of Rear Window, that is, without cuts we are shown the elements that characterize the sequence, the The camera starts by showing the map of Los Angeles, it proceeds to show the Driver looking out the window with his iconic jacket while he is on the phone to pronounce the terms of the agreement, then the camera moves towards the TV that is broadcasting the game where the escape will end, then the Driver enters the frame to collect the bag and finally the camera stops on the window where we see the night L.A. that will be the background to the whole film. The following shots slowly follow the driver's movements, this for the first few minutes, then once the robbery is over the escape begins, a chase characterized by a frantic and anxiety-ingous editing, the shots of the driver in the car are largely from below to make the scene more tense and dramatic, highlighting at the same time the stone expressions. Once the police are sown, the song Nightcall by Kavnisky starts, which in addition to being simply splendid, serves as a fundamental narrative element, in fact the song is characterized by a robotic, cold voice and a female voice that anticipates the desire for human warmth, which in the context of the film, represent the duality of the Driver's personality. In the first half of the film the development is different from the usual, slow but capable of introducing all the characters and dynamics that we will find in the second part of the film. The direction in this central part is able to put more subjects within the same frame, for example as when both the Driver and Irene are in the same room and the room is pointed towards Irene, who next to her there is a mirror where we see the Driver and on the mirror a photo of her husband in prison, all in one shot. The dialogues are very reduced compared to usual but every time someone opens his mouth, even if it may seem to say something rather marginal, he is, below saying something very deep, for example when the Driver and Benicio are together on the couch watching TV and the Driver asks Benicio: "Do you say he's bad?" Referring to the character on TV, and Benicio replies: "Yes, it's a shark" and the Driver: "and don't there be good sharks?" "No, and then look at him, you can see he's bad". This conversation leads the Driver to reflect on his true nature and on whether change is really possible or not. This first part is very atmospheric and establishes the "wold" of the film. However, once Irene's original husband returns home, the tone of the film changes completely, and we witness a clear change both in the editing that becomes more frantic, and in the character of the Driver who, in the famous elevator scene, shows Irene her true nature, probably unfortunately invariable. In the second part we witness several twists and explosions of extreme violence contrasted by almost dreamlike music. Also in this second part, despite the more frantic editing, there is no lack of a surgical direction capable of creating shots that have become iconic, like the one with the hammer in the locker room, one of my favorite shots. The film then continues to the sound of chases and murders to end in a very open ending from which both hope and nihilism can be derived. In short, a film characterized by a plot that we can define very simple and already seen but the beauty of cinema in fact, is not what happens but As it happens, and Drive is the embodiment of this sentence as it breaks the rules of the genre and establishes new ones, becoming a masterpiece of neo-noir, thanks to a direction of the huge NWR and a photography that leave nothing to chance. A film that lives on an atmosphere of neon lights and shadows, but above all a film about a man who wants to change but can't because of his inner nature, a man who is condemned, like the scorpion on his jacket, to "sting" anyone halfway attached, having to justify himself by saying: "it's my nature".

Ps: I’m italian so maybe my english is not perfect sadly.

Just asking

Sto studiando da autodidatta sul manuale “Storia del cinema. Un introduzione”(Bordwell/Thompson).
Ho il codice Connect cartaceo all'interno del libro, ma sul sito di McGraw-Hill non riesco a trovare la pagina o la schermata giusta in cui inserirlo per riscattarlo, dato che non ho un link fornito da un professore.
Qualcuno che lo ha usato da non frequentante o da autodidatta sa dirmi qual è l'indirizzo preciso o la procedura per attivarlo?
Grazie in anticipo

D’ora in poi noi saremo la squadra speciale anti-aste di Vinted, non ce ne faremo sfuggire una, segnalazioni di massa e acquisti a chi mette articoli a 1€ volendo offerte, riprendiamoci il Vinted originale, quello senza aste, senza pretese. Il nostro movimento farà sì che ogni venditore si faccia 2 domande prima di mettere qualcosa ad 1€, chi è con me?

I miei sono Do The Right Thing (1989) e Blade Runner (1982), fatemi sapere i vostri