This is the complete screen recording of a paper I gave last month at a conference in Montreal, The Magic of Special Effects: Cinema, Technology, Reception, 10 November 2013. Aside from the final plenary talk by Tom Gunning, I was the last speaker at this intensive, 6-day conference, so I will plead a little bit of fatigue and befrazzlement; I mostly resisted the urge to rewrite my paper over the course of the week as I heard so many stimulating ideas from the other speakers, but I will no doubt feed some of that stimulation back into the next draft of my paper. What I presented was an early sketch of my chapter on Spielberg for a forthcoming book, and thanks to helpful comments and questions from other delegates, I have a better idea of what I need to do to develop it into a longer, stronger essay. I hope you enjoy this snapshot of a work-in-progress, but let me know in the comments section if you have suggestions for improvement. Although the finished chapter will explore in more historical depth the relationship between Spielberg and Industrial Light and Magic, what I presented here is an attempt to characterise what Spielberg does with visual effects set-pieces, and how the audience is embedded in a “spectacular venue” for the presentation of marvellous things.
I must stand by my initial response to Avatar, which was that it was visually exciting, but dramatically leaden. It also fades from memory quite quickly, and sours a bit in the recollection. James Cameron’s film has, however, excited quite a lot of debate – despite mostly favourable, if qualified reviews (mine was very much in line with the majority, I think), there is already a backlash that shows how quickly cultural products can be mined for the subtexts and counter-readings that will be exercising students on film-studies courses in years to come. I can see it being used as a prompt for discussions of Hollywood’s myths of hegemony, race and history very soon, even though there are unlikely to be any campus lecture theatres to show it in 3D as intended. These post-hype analyses will not be dazzled by the arc lamps of spectacular, IMAX-sized action, which might make them more clear-minded and less likely to be swayed by special effects, but this is not necessarily a fair fight if one believes that visual spectacle is a part of a film’s lexicon rather than the fig leaf for an under-endowed plot.