Top Gun: Maverick

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  • Matthew Mitchell
    Through the conflicting duality of progress and humanity, Top Gun: Maverick questions the containment of visual pleasure.

    🤮

  • Through the deliberate suppression of colors meant to signify passion, Top Gun: Maverick subverts the fascist aesthetic.

  • Matthew Mitchell
    Watching now! Follow the replies this post. I'll update this thread with my thoughts as I watch.

    Through the expressionistic play between sound and history, Top Gun: Maverick hybridizes existentialist philosophy.

  • Matthew Mitchell
    Watching now! Follow the replies this post. I'll update this thread with my thoughts as I watch.

    Top Gun: Maverick reveals critical seams in the disavowal of the female lack through its poetic use of tableaux.

  • Top Gun: Maverick masks suburban notions of containment through its use of mise-en-scene.

  • Matthew Mitchell
    Watching now! Follow the replies this post. I'll update this thread with my thoughts as I watch.

    Top Gun: Maverick fragments scopophilic tendencies of the viewer through its juxtaposition of poverty and nature.

  • Through the use of telling jump cuts, Top Gun: Maverick calls into question pre-Oedipal anxieties.

  • Or not 😀

  • The deliberate suppression of colors meant to signify passion in Top Gun: Maverick masks nativist arguments of the early-twentieth century.

  • The fluid identification of the viewer in Top Gun: Maverick dichotomizes scopophilic tendencies of the viewer.

  • The deliberate suppression of colors meant to signify passion in Top Gun: Maverick calls into question passive and active gaze.

  • Through the use of telling jump cuts, Top Gun: Maverick masks Bergman-esque assertions of the nature of humanity.

  • Top Gun: Maverick subverts the containment of visual pleasure through its conflicting duality of progress and humanity.

  • Matthew Mitchell
    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.

  • Top Gun: Maverick subjugates pre-Oedipal guilt through its strategic use of narrative ellipses.

  • Top Gun: Maverick unravels the subjugation of the individual in the face of the primacy of television through its use of telling jump cuts.

  • The use of implied depth-of-field in Top Gun: Maverick subverts the rise of currency and the loss of utopia.

  • The subversion of the male gaze in Top Gun: Maverick echoes the major pillars of post-feminism.

  • The binarism of light and racism in Top Gun: Maverick demystifies the achievement of a state of wholeness.

  • The expressionistic play between sound and history in Top Gun: Maverick reveals critical seams in passive and active gaze.

  • The strategic use of narrative ellipses in Top Gun: Maverick fragments the subjugation of the individual in the face of the primacy of television.

  • 😉

  • Top Gun: Maverick launches visual salvos against the rise of currency and the loss of utopia through its frequent use of long takes.

  • Top Gun: Maverick reminds the spectator of the rise of currency and the loss of utopia through its masking of narrative 😁

  • Mark Wells
    😉

    🤡