SevenBritish Film Institute, 1999 - 88 pages Gluttony, Greed, Sloth, Lust, Pride, Envy, Wrath. A serial killer on a warped mission who turns his victims' "sins" into the means of their murder. "Seven" (1995) is one of the most acclaimed American films of the 1990s. Starring Morgan Freeman, Brad Pitt, and Kevin Spacey, "Seven" is the darkest of films. In it performance, cinematography, sound, and plot combine to create a harrowing account of a world beset by an all-encompassing, irremediable wickedness. Richard Dyer explores in turn the questions of sin, story, structure, seriality, sound, sight and salvation, analyzing how "Seven" both epitomizes and modifies the serial killer genre that is such a feature of recent cinema. |
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Page 21
... structure is insistently clear : seven murders in seven days in a film called Seven ( with the numeral inserted into ... structure permits internal play . When Doe has gun at Mills's head , it is a reversal of the cop - criminal relation ...
... structure is insistently clear : seven murders in seven days in a film called Seven ( with the numeral inserted into ... structure permits internal play . When Doe has gun at Mills's head , it is a reversal of the cop - criminal relation ...
Page 22
... structure is set against the background of the film's world . Within itself no structure could be more closed off : the disruption caused by the crimes has been resolved with terrible finality . In classic crime fiction this means that ...
... structure is set against the background of the film's world . Within itself no structure could be more closed off : the disruption caused by the crimes has been resolved with terrible finality . In classic crime fiction this means that ...
Page 23
... structure would become boring if it were unfolded at an unvarying pace . Much of the actual variation is due to direction , editing , music and so on , but it is also in the structure . The set - piece of the police storming Victor's ...
... structure would become boring if it were unfolded at an unvarying pace . Much of the actual variation is due to direction , editing , music and so on , but it is also in the structure . The set - piece of the police storming Victor's ...
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1st Assistant Additional Photography Artist aural BFI Modern Classics body Brad Pitt by/performed Casting character Chris Christian cinema Closer Co-ordinator colour credits sequence crime Darius Khondji darkness David Fincher death Detective Doe's Editor effect Envy evoking film cuts film's fuck fuckin gives Gluttony Gluttony murder scene Greed Hearts Filthy Lesson helicopter high culture horror imagery investigation Jack the Ripper John Doe Kevin Spacey Killer Movie killing Lethal Weapon light look Lust male massage parlour metronome Michael Mills and Doe Mills and Somerset Mills's Morgan Freeman Nine Inch Nails noise performance Pitt's play police Production rain realise reference Ren Klyce Richard Dyer Robert salvation says script seems sense serial killer seven deadly sins shot Sloth Somerset and Doe Somerset and Mills sound soundtrack structure suggests Supervisor tells Mills THRILLER Throughout the film victims Victor violence wickedness Wrath