Stunt trickery as an effective spectacle means of artistic expressiveness

ДАНИЛОВ Джан Иосифович


The article looks into the notions of film stunt and stunt technical skills as the most expressive and memorable means of an audiovisual production. On the whole, the stunt as a concept has undergone a considerable evolution adjusting itself to the screen narrative and forming its inventory of stunt performance. The term served as the basis for the emergence of the so called ‘stunt cinema’ which gained popularity and consumer demand. In modern film industry, stunt films are considered highly profitable.

Full Text

   The emergence of the concept of film stunt is inextricably connected with the period of dramatic artistic and practical transformations in stunt performance. The experimental basis which served as a perfect platform for realizing the boldest ideas in stunt presentation formed an invaluable material of one of the most spectacular and impressive forms of film expressiveness. 
   Filmmakers used various methods of making first stunts based on freeze-frames, stop motion, double (and multiple) exposure, fast (and slow) motion, matting and other techniques which were creative innovations at the time promising a huge success to action movies that conquered the screen. Stunt performance was just the most eye-catching part of “Eisenstein’s attractions”, providing additional expressive means of film language. The stunt was not a full-fledged part of the character’s plastic pattern (it did not belong to the performer, neither was it identified with the character executing it). It was only later that the stunt began to be personified in the artistic context of an individual character’s plastic pattern as well as in the genre structure of the narrative. The stunt became part of the film’s plot-line. Its organic incorporation into the accurately built and logically balanced structure of the audiovisual production gave it a new emotional palette. Some time later, the stunt turned into an integral part of a film phrase, getting the status of plastic (and action) metaphor with a different meaning. It has become ingrained in the cinematic life of all continents taking a rightful place the international film vocabulary.

About the authors

Dzhan I. Danilov

The S.A.Gerasimov Russian State Institute of Cinematography (VGIK)

Author for correspondence.
ORCID iD: 0000-0002-1704-5905
SPIN-code: 4794-3163
ResearcherId: K-9153-2018

Russian Federation, Russia, 129226 Moscow, Wilhelm Pik St., 3

Senior Researcher


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