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Mad Max$
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Martyn Conterio

Print publication date: 2020

Print ISBN-13: 9781911325864

Published to Liverpool Scholarship Online: January 2021

DOI: 10.3828/liverpool/9781911325864.001.0001

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PRINTED FROM LIVERPOOL SCHOLARSHIP ONLINE (www.liverpool.universitypressscholarship.com). (c) Copyright Liverpool University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in LSO for personal use.date: 26 July 2021

The White Line Nightmare

The White Line Nightmare

Chapter:
(p.55) Chapter Three: The White Line Nightmare
Source:
Mad Max
Author(s):

Martyn Conterio

Publisher:
Liverpool University Press
DOI:10.3828/liverpool/9781911325864.003.0004

This chapter describes the directing style of George Miller in Mad Max (1979). The Mad Max franchise is known for its epic car chases, and one might say, in general, Australian filmmakers are cinema's leading experts of car crashes. Car chases, crashes, and staging furious action is where Miller's creative genius kick in. What sets him apart from other directors is not just his bravura use of practical effects and mounting dangerous-looking stunts for real, but how dangerous they can be in the world of the movie. In other words, unexpected elements are thrown in to liven up proceedings and keep the audience hooked into the virtuosic storytelling. The chapter then considers Miller's visual rock 'n' roll theory. Miller's use of montage merges Classical Hollywood editing with bits borrowed from Soviet-style montage. The marriage between east and west editing principles is made apparent in Mad Max's opening chase, where a series of parallel happenings coincide with the introduction of the hero (teased in disembodied shots or wide shots).

Keywords:   George Miller, Mad Max, car chases, Australian filmmakers, practical effects, stunts, montage, Classical Hollywood editing, Soviet-style montage, film editing

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