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Shaky camera

The shaky camera, also known as shaky cam, is a cinematographic technique employing a handheld camera or simulated handheld movement to produce unsteady, jittery footage that mimics the immediacy of real-life observation or documentary-style recording.^[1] This approach intentionally introduces visible shake and abrupt motions, distinguishing it from stabilized shots, and is achieved by supporting the camera solely with the operator's hands and shoulder, often without additional rigs for smoothness.^[1] Historically, elements of handheld cinematography date back to experimental uses in the silent era, such as Abel Gance's Napoléon (1927), where portable cameras enabled dynamic, on-location shooting.^[2] The technique gained prominence in the 1960s through the French New Wave movement, with directors like Jean-Luc Godard employing it in films such as Breathless (1960) to convey raw energy and break from traditional studio-bound aesthetics.^[1] The term "shaky cam" emerged in the 1980s, popularized by Sam Raimi's low-budget horror film The Evil Dead (1981), where a wooden plank rig held by crew members created exaggerated instability to heighten tension and immersion.^[1]^[2] In modern cinema, shaky cam serves multiple purposes, including establishing subjective viewpoints, amplifying chaos in action sequences, and fostering intimacy between viewer and subject by evoking a sense of urgency or psychological unease.^[1] Notable examples include Steven Spielberg's opening D-Day invasion in Saving Private Ryan (1998), which used the style to simulate the disorientation of combat; Paul Greengrass's Bourne trilogy (2002–2007), where it contributed to gritty realism in espionage thrillers; and found-footage horrors like The Blair Witch Project (1999) and Cloverfield (2008), which relied on it to blur lines between fiction and reality.^[1]^[2] Despite its effectiveness, shaky cam has faced criticism for causing viewer motion sickness, obscuring visual clarity, and serving as a crutch to mask poorly choreographed action or weak storytelling.^[2] Directors like Christopher McQuarrie have dismissed overuse as a "gimmick," while audience feedback on series such as Bloodlands (2021) highlights frustration with excessive jitteriness that detracts from narrative focus.^[2] When applied judiciously, however, it remains a powerful tool for enhancing emotional impact and stylistic innovation in both independent and blockbuster productions.^[1]

Overview

Definition

The shaky camera, also known as shaky cam, is a cinematographic technique in which the camera is operated handheld or with minimal stabilization to deliberately introduce unsteadiness and jerkiness into the footage, often emulating the raw, improvisational quality of documentary or electronic news gathering (ENG) styles.^[3]^[1] This approach contrasts sharply with stabilized methods such as Steadicam or tripod-mounted shots, which prioritize smooth, controlled movements to maintain visual composure; instead, shaky cam embraces an ad hoc, unrehearsed aesthetic that highlights the operator's physical presence and the immediacy of the capture.^[4]^[1] The terminology surrounding this technique includes "shaky cam" and "jerky camera," terms that emerged in the late 20th century to describe its unstable visual signature, with "queasy cam" specifically denoting the disorienting or nauseating effect it can induce in viewers when employed excessively.^[3]^[1] "Handheld camera," the broader foundational term, refers to any shot where the camera is supported solely by the operator's hands and shoulder, allowing for natural tremors but not necessarily the exaggerated instability of shaky cam.^[1] These labels trace their conceptual roots to mid-20th-century innovations in portable equipment, briefly referencing the cinéma vérité movement of the 1960s, which popularized handheld shooting to capture unfiltered reality in documentaries.^[5]^[3] Primarily, the shaky camera serves to enhance narrative immersion by conveying a sense of realism, urgency, chaos, or subjective viewpoint, drawing audiences into the action as if witnessing events firsthand rather than through a polished lens.^[4]^[1]^[3] This intentional disruption fosters emotional intensity and authenticity, making scenes feel spontaneous and unmediated.^[4]

Characteristics and Effects

Shaky camera, also known as handheld cinematography, is characterized by its unstable and irregular visual qualities, including jerky movements resulting from the operator's physical handling, variable framing that shifts unpredictably, and subtle natural motions such as breathing or slight tremors that impart a sense of organic imperfection. Unlike polished techniques involving tripods or stabilizers, it deliberately avoids smooth pans, tracks, or steady compositions, creating a raw, unrefined aesthetic that emphasizes spontaneity over control. These traits stem from the camera's direct embodiment by the filmmaker, producing footage that mimics unmediated observation rather than contrived artistry.^[6] Psychologically, shaky camera evokes heightened tension and disorientation in viewers by simulating instability and urgency, often mirroring the characters' emotional states and drawing audiences into a participatory sense of vulnerability. This technique fosters immersion, with studies indicating increased feelings of personal involvement and a perception of viewing through "one's own eyes," particularly in neutral or ambiguous scenes, though it may not always significantly alter overall arousal levels. In contrast to stable shots, which promote emotional composure and narrative clarity through reliable spatial orientation, shaky camera disrupts viewer comfort, amplifying discomfort or anxiety to enhance empathetic alignment with on-screen peril.^[6]^[7]^[8] Narratively, shaky camera functions to bolster realism in action sequences by conveying chaotic immediacy, as seen in fragmented fight scenes that prioritize visceral impact over legible geography, thereby intensifying excitement without traditional continuity. In horror contexts, its instability amplifies dread through subjective disorientation, positioning the audience as unwitting witnesses to unfolding threats and evoking a first-person terror that blurs documentary authenticity with fiction. For documentaries, it suggests unfiltered presence, heightening the sense of lived experience and emotional authenticity by foregrounding the camera's vulnerability amid events. Compared to stable shots' role in fostering detached observation and structured storytelling, shaky camera drives heightened engagement, often at the cost of spatial coherence, to evoke raw, immediate responses.^[9]^[8]^[7]

History

Early Development

The shaky camera technique emerged in the silent film era of the 1920s and 1930s through pioneering experiments with mobile and handheld cinematography, which allowed filmmakers to capture dynamic, immersive sequences previously constrained by bulky studio equipment. French director Abel Gance's epic Napoléon (1927) exemplified this innovation, employing chest-mounted cameras that swayed with crowds during the Victims' Ball sequence to convey chaotic energy, as well as cameras rigged on toboggans for spinning snowball fight shots and motorized units attached to horses for high-speed chases, creating a sense of immediacy and motion unheard of in contemporary cinema.^[10] These techniques prioritized visual dynamism over static framing, laying groundwork for later handheld applications despite the era's technical limitations, such as heavy gear and lack of synchronized sound. A significant breakthrough occurred in the 1960s with the advent of lightweight 16mm cameras and portable synchronized sound recorders, which enabled filmmakers to document real-life events with minimal intrusion and enabled the cinéma vérité movement. French ethnographer Jean Rouch, collaborating with sociologist Edgar Morin on Chronicle of a Summer (1961), utilized these tools to conduct on-the-street interviews in Paris, capturing spontaneous dialogue and movement that blurred the line between observer and observed.^[11] In the United States, the Maysles brothers—Albert and David—adopted similar portable equipment for direct cinema documentaries, emphasizing observational realism by following subjects in unscripted environments without narrative intervention.^[12] Concurrently, the French New Wave movement in the 1960s incorporated handheld cinematography into narrative fiction to evoke raw energy and spontaneity, breaking from conventional studio aesthetics. Directors such as Jean-Luc Godard employed the technique in films like Breathless (1960), using unsteady shots to enhance immediacy and realism.^[1] The rise of electronic news-gathering (ENG) in television during the late 1960s and 1970s further popularized handheld cameras for capturing real-time events, influencing broader cinematic practices by demonstrating their utility in fast-paced, setup-free reporting. Stations like KMOX-TV in St. Louis adopted early ENG systems with portable video-tube cameras in 1974, allowing reporters to film breaking news on location without the delays of film processing.^[13] Japanese manufacturer Ikegami's HL-33, introduced in 1972, marked a pivotal advancement as one of the first practical handheld color TV cameras, enabling mobile coverage of live events like protests and disasters.^[14] Key early films showcasing shaky camera for observational realism include Robert Drew's Primary (1960), which used custom-modified handheld Auricon cameras to follow John F. Kennedy and Hubert Humphrey during the Wisconsin Democratic primary, immersing viewers in campaign crowds and private moments.^[15] Similarly, the Maysles brothers' Salesman (1969) employed direct cinema techniques with portable sync-sound gear to track Bible salesmen on the road, their unsteady shots revealing the tedium and desperation of door-to-door pitches in a raw, unpolished style.^[16]

Modern Usage

In the 1980s and 1990s, the shaky camera technique shifted from experimental and documentary roots to a key element in narrative fiction, particularly horror, where it enhanced point-of-view (POV) effects to immerse audiences in supernatural threats. Sam Raimi pioneered this adaptation in his Evil Dead series, starting with The Evil Dead (1981), by mounting a 16mm camera on a wooden rig carried by crew members to simulate the erratic, menacing movement of demonic entities through the woods, creating a low-budget yet visceral POV that blurred the line between viewer and horror.^[17]^[18] This approach influenced contemporaries like the Coen brothers, who adopted similar "shaky cam" for tense, subjective shots in Blood Simple (1984), marking the technique's integration into mainstream genre storytelling.^[17] By the 2000s, shaky cam proliferated in action cinema, with Paul Greengrass elevating it in the Bourne series—The Bourne Supremacy (2004) and The Bourne Ultimatum (2007)—to convey hyper-realism through handheld jitteriness and rapid cuts that mirrored the protagonist's disoriented, high-stakes worldview.^[19] Greengrass's style, inspired by documentary aesthetics, used the camera's instability to heighten urgency in chase sequences and everyday scenes alike, setting a template for visceral, contemporary thrillers that prioritized immediacy over polished composition.^[20] This evolution reflected broader 2000s trends in action films, where the technique amplified perceived authenticity amid faster-paced editing norms.^[21] Contemporary trends since the late 1990s have seen shaky cam dominate found-footage horror and mockumentary formats, fostering intimacy and realism in both film and television. The Blair Witch Project (1999) popularized handheld shaky cam in found-footage horror by having actors film themselves with consumer-grade cameras, simulating amateur documentation of terror and grossing nearly $250 million on a $60,000 budget, which inspired a subgenre emphasizing psychological unease over effects.^[22]^[23] In television, the U.S. version of The Office (2005–2013) employed shaky cam for its mockumentary style, using handheld shots and talking-head interviews to mimic reality TV's candid voyeurism, which enhanced comedic awkwardness and character depth while drawing from the era's reality programming boom.^[24] The rise of digital cameras after 2000 further democratized shaky cam, slashing costs by eliminating film stock expenses and enabling lightweight, portable shooting that suited indie and blockbuster productions alike. Devices like Mini DV and Sony PD-150 allowed for spontaneous handheld work without bulky rigs, as seen in low-budget indies like Personal Velocity (2002) and high-profile films such as Collateral (2004), where digital mobility facilitated dynamic, unstable shots in diverse environments.^[25] This technological shift reduced barriers for filmmakers, integrating shaky cam fluidly across genres and scales, from guerrilla-style horror to polished action spectacles.^[26]

Techniques and Implementation

Handheld Filming Methods

In basic handheld operation, the camera operator grips the camera directly with their hands, often supporting it against the shoulder or chest, while incorporating deliberate body movements to introduce natural shake that mimics organic instability during filming.^[1] This method relies on the operator's physical engagement to generate subtle or pronounced tremors, achieved by varying hand pressure and torso shifts without external supports.^[27] Specialized variations include shoulder-mounted rigs, which distribute the camera's weight across the operator's upper body for sustained takes while still permitting controlled shake through shoulder rolls or hip sways.^[4] Improvised point-of-view (POV) shots simulate the viewer's perspective by having the operator mimic subject movements, such as running or stumbling, to create immersive, unsteady footage often used in dynamic sequences.^[1] The advent of lighter digital cameras in the late 20th century has facilitated these handheld approaches by reducing operator fatigue during extended shoots.^[1] Handheld filming integrates with editing by combining inherent shakes with rapid cuts, which heighten the sense of disorientation and pace without requiring complete stabilization of individual shots.^[4] Editors can layer these elements to build cumulative instability, ensuring the shake serves the sequence's rhythm rather than overwhelming it.^[4] Operator techniques emphasize breathing control to minimize involuntary vibrations, where steady, shallow breaths help isolate the camera from diaphragmatic movements for smoother yet shaky results.^[28] Footwork involves wide stances and deliberate strides to maintain balance, with operators practicing paths in advance to align steps with the action's flow.^[29] Anticipation of action allows the operator to preempt subject movements, adjusting grip and posture to keep focus sharp amid intentional instability.^[27]

Equipment and Post-Production

Essential gear for achieving shaky camera effects emphasizes portability and ease of handheld operation to capture natural instability. Lightweight digital single-lens reflex (DSLR) and mirrorless cameras, such as models from Canon and Sony, are widely used due to their compact form factors, which reduce operator fatigue during extended shooting. In professional productions, high-end cinema cameras like the ARRI Alexa Mini, introduced in 2015, the ARRI Alexa 35 (released 2022), RED's Komodo series, launched around 2020 including the Komodo-X in February 2025, and the Canon EOS C400 (2024), provide robust options with modular designs that support shoulder-mounted or vest rigs for controlled shake while maintaining high image quality.^[30]^[31]^[32]^[33] Basic stabilizers, including gimbals like the DJI Ronin, are sometimes employed minimally—configured with loose damping or partial motor assistance—to retain subtle tremors without fully eliminating movement.^[30] Improvised setups have proven effective, particularly in resource-constrained environments, to amplify shake for dramatic effect. A notable example is director Sam Raimi's "shaky cam" technique in the 1981 horror film The Evil Dead, where the 16mm camera was bolted to a plywood plank held by two crew members who ran with it to produce erratic, low-angle point-of-view shots mimicking a hovering demonic presence. This method, born out of necessity on a micro-budget, allowed for dynamic forward and backward motion in tight spaces without specialized equipment, influencing subsequent low-budget horror productions.^[17] Post-production enhancements enable filmmakers to fine-tune shaky footage for consistency and intensity. Adobe After Effects features the Warp Stabilizer tool, which analyzes motion in handheld clips and applies corrective transformations to reduce unwanted jitter while preserving intentional unsteadiness, often through adjustable smoothness parameters. For scenes lacking natural shake, subtle digital jitter can be introduced via expressions like Wiggle or keyframed animations, simulating realistic camera wobble without on-set reshooting. These processes ensure the effect integrates seamlessly with stabilized elements in a sequence. The transition from analog film stocks to digital sensors has transformed shaky camera practices by addressing historical limitations in image fidelity. Analog 16mm or 35mm film, common in early handheld work, often exacerbated shake through inherent grain, which could obscure details in low-light conditions but also added an organic texture. Digital sensors, prevalent since the early 2000s in cameras like the RED One, offer superior low-noise performance and higher dynamic range, allowing cleaner handheld shots that maintain clarity even with vigorous movement and eliminating the need for costly film processing to mitigate grain-induced artifacts.^[34]^[35]

Notable Examples

In Horror and Thriller

In the horror and thriller genres, the shaky camera technique amplifies psychological tension and immersion by mimicking instability and urgency, often simulating point-of-view shots that place viewers in the midst of unseen threats. This approach heightens dread through erratic movement, disorientation, and a sense of immediacy, transforming ordinary settings into sources of unease.^[18] A seminal example is Sam Raimi's Evil Dead (1981), where shaky cam was employed for demonic point-of-view shots to depict the monster's rapid pursuits through the woods, creating an overwhelming sense of dread and surreality on a low budget. By mounting the camera on a wooden plank held by crew members who ran through the woods, Raimi simulated the demon's erratic motion, making the audience feel pursued by an invisible, unrelenting force. This innovative use not only compensated for limited effects but established shaky cam as a tool for visceral horror immersion.^[18]^[17] The found-footage style of The Blair Witch Project (1999) further popularized handheld shaky cam in horror, relying on amateurish, unsteady filming by the characters to build terror through hyper-realism and claustrophobia. Directors Daniel Myrick and Eduardo Sánchez used disorienting night scenes captured with portable cameras to evoke existential fear, blurring the line between fiction and reality as the protagonists' footage documented their descent into panic in the woods. This technique's raw, unpolished quality made the unseen witch legend feel palpably immediate, revolutionizing low-budget horror by prioritizing psychological unease over visual spectacle.^[36] The Paranormal Activity series (2007–2021) extended shaky cam into domestic supernatural horror, using handheld night-vision shots to enhance unease in everyday home environments. In moments like the frantic searches for missing family members, characters wield portable cameras with infrared capabilities, their trembling movements capturing subtle anomalies that escalate tension without overt gore. This approach, seen in sequences where the camera pans unsteadily through darkened rooms, underscores the invasion of the familiar by the inexplicable, making viewers complicit in the voyeuristic horror.^[37]^[38] Cloverfield (2008) exemplified extreme shaky cam in found-footage horror, with the entire film presented as footage from a handheld camera operated by a character during a monster attack on New York City. The relentless jitter and disorientation from running and panic amplified the chaos and immediacy, immersing viewers in the terror of an unfolding disaster and influencing subsequent monster movies with its raw, first-person perspective.^[1] In thrillers, District 9 (2009) blended shaky cam with mock-documentary aesthetics to achieve gritty immersion in a sci-fi narrative of alienation and conflict. Director Neill Blomkamp incorporated handheld footage, security cams, and improvised shots to convey the chaos of a Johannesburg slum housing extraterrestrials, keeping audiences off-balance as protagonist Wikus van de Merwe undergoes transformation. Editor Julian Clarke described this as a "multimedia collision" of styles, including "shaky camera movement," which amplified the film's raw, urgent tone and social commentary.^[39]

In Action Cinema

In action cinema, the shaky camera technique has been employed to amplify the intensity of combat sequences, creating a sense of immediacy and realism in hand-to-hand fights. In The Bourne Identity (2002), director Doug Liman pioneered the aesthetic by using handheld shaky cam during the key apartment fight scene in Paris, where the camera's constant movement and unsteadiness simulated the raw chaos of Bourne's disoriented struggle against an assassin, blending dialogue and action to heighten tension. This approach, born from practical constraints, established a gritty, documentary-like realism that influenced subsequent action films by making viewers feel the physicality of the brawl.^[1] The technique evolved in Children of Men (2006), where director Alfonso Cuarón and cinematographer Emmanuel Lubezki utilized long-take handheld sequences to immerse audiences in chaotic warzone environments, blending subtle camera shake with fluid movement to convey authenticity without artificial stabilization. Shot entirely handheld with Arricam Lite cameras and wide Master Prime lenses, these sequences—such as the extended car ambush and refugee camp riot—mimic the peril of real war footage, where operators run while capturing action, avoiding close-ups or cuts to preserve the unfiltered frenzy of a dystopian conflict. Cuarón deliberately rejected Steadicam for this raw energy, arguing it would beautify the violence unduly, thus enhancing the film's portrayal of societal collapse through visceral, documentary-inspired shake.^[40] However, shaky camera has faced criticism in action blockbusters for potentially masking flawed stunt work or poor fight design, as seen in Michael Bay's Transformers (2007), where frenetic handheld shots and rapid cuts during robot-human clashes obscured choreography details, making it difficult to discern transformations or impacts amid the visual chaos. Reviewers noted this overuse contributed to frustrating action set pieces, with excessive zooming and unsteadiness prioritizing spectacle over coherence, often concealing the limitations of CGI integration with live-action elements. Such applications highlight how the technique, when over-relied upon, can undermine audience engagement in high-stakes sequences.

Reception and Criticism

Positive Aspects

The shaky camera technique, often achieved through handheld operation, is widely praised for enhancing realism by immersing audiences in the unfolding action as if witnessing events firsthand, particularly in documentaries and mockumentaries where it mimics the unpolished perspective of a live observer.^[41] This approach draws viewers into the narrative with a sense of immediacy and authenticity, as the subtle movements replicate human vision and create a raw, unfiltered experience that heightens the perception of reality.^[41] In films like The Blair Witch Project (1999), the found-footage style utilizing shaky handheld shots was lauded for its innovative simplicity, turning technical limitations into a tool for profound immersion and suspense without relying on elaborate effects.^[42] The technique also builds emotional intensity and urgency, fostering empathy by conveying chaos and vulnerability in high-stakes scenes. In the Bourne series, director Paul Greengrass's shaky-cam aesthetic was acclaimed for aligning with the protagonist's internal turmoil, manifesting actions "faster than the speed of thought" to amplify tension and reflect instinctive violence.^[43] This jittery, kinetic framing adds volatility to action sequences, making viewers feel the adrenaline and disorientation alongside characters, thus deepening emotional engagement.^[43] For low-budget productions, shaky camera enables dynamic storytelling without costly equipment like stabilizers or rigs, allowing filmmakers to achieve intense, authentic atmospheres efficiently.^[44] It reduces setup time and costs while providing mobility for spontaneous shots in confined or remote locations, as demonstrated in indie horror where handheld work creates gripping realism on minimal resources.^[44] The acclaim for such innovation is evident in The Blair Witch Project, which grossed over $248 million on a budget under $1 million, proving the technique's power to deliver visceral impact through ingenuity rather than expense.^[42] Recognition from awards bodies underscores these strengths, with United 93 (2006) earning a BAFTA nomination for Best Cinematography for its masterful use of handheld shots to capture authentic tension and documentary-like intimacy during the 9/11 events.^[45] The film's approach was praised for immersing audiences in the moment-by-moment horror, evoking the raw confusion and heroism of real-time tragedy without artificial polish.^[46]

Negative Reactions

The shaky camera technique has drawn significant criticism for inducing disorientation and motion sickness in audiences, particularly during prolonged action sequences. Audience feedback on the Bourne sequels described the style as a distracting "gimmick" that overwhelmed viewers and contributed to nausea rather than immersion.^[47] Similarly, the 2011 action film Battle: Los Angeles faced backlash for its relentless handheld cinematography, which prompted viewer complaints of severe motion sickness and calls for preemptive warnings at theaters.^[48] Critics labeled this approach a misguided fad, equating shaky visuals and shallow focus with false realism at the cost of accessibility.^[49] Another common reproach is that shaky camera serves as a perceived shortcut to conceal deficiencies in choreography or stunt coordination. In his review of Transformers: Revenge of the Fallen (2009), Roger Ebert condemned the film's action as "bewildering," noting how the chaotic, rapid cuts and movement rendered battles into "incomprehensible confusion," effectively hiding the lack of coherent staging.^[50] The proliferation of shaky camera in 2000s blockbusters sparked broader debates on its overuse, arguing that ubiquity eroded its innovative edge and fatigued viewers. Following the influence of films like The Bourne Supremacy (2004), many productions adopted the style indiscriminately, transforming it from a purposeful tool into a habitual crutch that diminished overall impact.^[51] This led to calls for restraint, emphasizing selective use to preserve tension without alienating audiences.^[52] As of 2025, criticisms persist in recent films such as Kathryn Bigelow's A House of Dynamite, where the shaky cam was faulted for excessive disorientation in action sequences.^[53] Within the industry, backlash has manifested through advocates for alternative approaches, such as steadier framing to prioritize clarity in action. Directors like Christopher Nolan have exemplified this by deliberately eschewing frenetic handheld work in favor of composed shots, allowing precise spatial awareness and narrative coherence in high-stakes sequences.^[54]

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Jul 23, 2024 · Handheld cinematography involves holding the camera in the operator's hands instead of using a tripod or other stabilizing equipment. This ...Missing: footwork | Show results with:footwork
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This 26-Year-Old Horror Classic With 86% on Rotten Tomatoes ...
Jul 12, 2025 · The Blair Witch Project Did Found Footage Right. Simplicity and Authenticity Were Key to Success.
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The Bourne trilogy's notorious shaky-cam action is better than ...
Feb 11, 2021 · The dizzying, choppy Bourne fight style has its pros and cons. Moviegoers might argue that it poisoned the American action well, ...Missing: analysis | Show results with:analysis
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6 Reasons To Go Hand-Held - Videomaker
Hand-held camerawork is a great option for filmmakers looking to cut costs, reduce set up time, lessen equipment, and create an authentic, intense atmosphere.
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Cinematography - Bafta
Winner. Children Of Men. Emmanuel Lubezki. Cinematography · Nominee. United 93. Barry Ackroyd. Cinematography · Nominee. Pan's Labyrinth. Guillermo Navarro.
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History written in the moment movie review (2006) - Roger Ebert
Rating 4/4 · Review by Roger EbertApr 27, 2006 · “United 93” is incomparably more powerful because it depicts all of its characters as people trapped in an inexorable progress toward tragedy.
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Shake, rattle, and Bourne! - Roger Ebert
except for one shot. This shot is a POV of Jason peering through a ...<|separator|>
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Hollywood South mailbag: 'Battle: Los Angeles' has motion-sick ...
Mar 19, 2011 · Are you aware of any resources that rate a movie based on camera stability -- or in other words, warn viewers of potential motion sickness?Missing: shaky | Show results with:shaky
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Time to declare war on the shaky camera - Salon.com
Mar 15, 2011 · "Battle: Los Angeles" takes one of the more controversial cinematography fads of recent years -- the "shaky camera and shallow focus equals 'reality'" fad -- ...
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Revenge of the Fallen, all right, if you're thinking Michael Bay
Rating 1/4 · Review by Roger EbertJun 23, 2009 · “Transformers: Revenge of the Fallen” is a horrible experience of unbearable length, briefly punctuated by three or four amusing moments.Missing: shaky cam
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Why Shaky-Cam Is Ruining Modern Action Movies | Movie Mezzanine
These films all owe an unpayable debt to none other than The Bourne Supremacy, the 2004 sequel to The Bourne Identity, directed by Paul Greengrass.
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10 Movies That Ruined Awesome Cinematic Tricks - WhatCulture.com
Jul 28, 2022 · While shaky cam certainly has its place in cinema, Hollywood's blatant, corner-cutting abuse of the technique has pretty much killed it off in ...
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Ultimate Guide to Christopher Nolan and His Directing Techniques
Christopher Nolan is by far one of the greatest directors of his generation. In ... handheld camerawork was a deliberate, stylistic choice. While Nolan ...