Piecing Together the Action Sequence

Jim Emerson, who runs the excellent blog Scanners at Chicago Sun-Times, has put together a great video essay taking apart a key action sequence from Christopher Nolan's The Dark Knight. It makes for a nice follow-up to Matthias Stork's Chaos Cinema essays, cogently scrutinising how certain editorial choices have affected the way this particular action sequence has turned out. It's not something that I noticed, nor probably most viewers out there; if you watch it uninterrupted without Emerson's commentary, it seems to hang together fairly well. And that's what's cool about this essay, is that it's examining the flaws of an action scene that isn't actually all that terrible or incoherent - Nolan's fight scenes are much worse - but the problems with "spatial integrity" are still there, as he persuasively points out:
In the Cut, Part I: Shots in the Dark (Knight) from Jim Emerson on Vimeo.

Emerson also looks at the the Angelina Jolie chase scene in Salt, which comparatively has a better sense of on-screen spatial relationships, even though it drops the ball where logic is concerned in one crucial bit:
In the Cut, Part II: A Dash of Salt from Jim Emerson on Vimeo.

Notes:

• It's kinda interesting that he used Salt as an example. Noyce may have executed this sequence skillfully, but rest of the action in Salt is pretty forgettable and plagued with "Chaos Cinema"-style editing.
• Stork's essay made me re-watch Ronin - for the first time since its theatrical release - and it was simply a breath of fresh air and much better than I remembered. Frankenheimer really knew how to direct good, clear action.
• I'd like to see an essay from someone defending Paul Greengrass's Bourne films and how his use of shakey-cam can be argued as effective (or in the greater scheme of things, how this technique can be used well).
• Check out the comments under Emerson's essay. If you're really into this stuff, you'll lose yourself in it. Great stuff.