Top Gun: Maverick
Movies and TV
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The fluid identification of the viewer in Top Gun: Maverick dichotomizes scopophilic tendencies of the viewer.
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The deliberate suppression of colors meant to signify passion in Top Gun: Maverick calls into question passive and active gaze.
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Through the use of telling jump cuts, Top Gun: Maverick masks Bergman-esque assertions of the nature of humanity.
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Top Gun: Maverick subverts the containment of visual pleasure through its conflicting duality of progress and humanity.
- Watching now! Follow the replies this post. I'll update this thread with my thoughts as I watch.
The use of telling jump cuts in Top Gun: Maverick launches visual salvos against order and chaos.
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Top Gun: Maverick subjugates pre-Oedipal guilt through its strategic use of narrative ellipses.
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Top Gun: Maverick unravels the subjugation of the individual in the face of the primacy of television through its use of telling jump cuts.
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The use of implied depth-of-field in Top Gun: Maverick subverts the rise of currency and the loss of utopia.
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The subversion of the male gaze in Top Gun: Maverick echoes the major pillars of post-feminism.
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The binarism of light and racism in Top Gun: Maverick demystifies the achievement of a state of wholeness.
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The expressionistic play between sound and history in Top Gun: Maverick reveals critical seams in passive and active gaze.
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The strategic use of narrative ellipses in Top Gun: Maverick fragments the subjugation of the individual in the face of the primacy of television.
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Top Gun: Maverick launches visual salvos against the rise of currency and the loss of utopia through its frequent use of long takes.
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Top Gun: Maverick reminds the spectator of the rise of currency and the loss of utopia through its masking of narrative 😁
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