“Lowrider”, Dear Listener, “Low Rider”… That’s right, we’re back with fast cars and high octane analysis as we finally get to rage with the Cage and talk Gone in Sixty Seconds. Of course, it’s been a long time coming, but we finally get to analyze a Nicolas Cage movie. The results are… kind of eh. That’s right, while the hosts had fun watching it, the pickings were a bit slim in the analysis room.
As we gather around the table, Alexandra, Dustin, and Caleb get things going with a discussion of their favorite famous cars. It’s a fun time, and we’d love to hear your thoughts on favorite famous cars in television or cinema. Hit us up in the comments section below.
We then get Gone in Sixty Seconds on the analysis table and your valiant hosts try to mine as much out of it as they can. Alexandra discusses the sexualization of cars with her “sex sells cars” thesis. She highlights the use of language and entendre as directed towards cars. Also, mentions how cars are viewed by society at large. Next, Dustin gives us a lesson in formalist technique and how Gone in Sixty Seconds is the final stage of action film editing and shot composition that began in the late 70s. He breaks down the use of mid-,long-, and close-up shots as well as the evolution of the ASL, or average shot length.
Gone in Sixty Seconds Timestamps
Arthur is a creator of content, lover of movies, and father of dogs. If you want to keep the conversation going, then click here to follow Arthur on Twitter. If you would like to keep up with what Arthur is watching, then head over to Letterboxd and give him a follow!
