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Terry Gilliam's Fear And Loathing In Las Vegas

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For my micro analysis I have chosen Terry Gilliam’s Fear and Loathing in Las Vegas (US, 1998). It is a niche film, and while initially a commercial failure, quickly developed cult status. It is a black comedy set in the 1960s, and revolves around the protagonist Raoul Duke and his helper Dr. Gonzo’s adventures in Las Vegas, as they traverse the city in a drug-induced haze.
The sequence I will be looking at in this essay is the carnival scene [31:30-38:03], which takes place in the second act of the film. It is difficult to say this with total certainty however, as Fear and Loathing doesn’t clearly follow Field’s Three Act Structure - there is no obvious complication/confrontation, but rather several loosely related situations. In this part …show more content…

This creates a slapstick comedy moment with Gonzo falling about while Duke attempts to help him. The long shot dominates this moment effectively due to how much of the environment is shown – the carousel, the casino, and other potential obstacles are visible in the background, combining to create several planes of depth and movement, producing a parallax effect and disorientating the viewer. This shot type positions the audience to sympathise with Gonzo’s comedic struggle through the movement of the camera, spinning of the carousel and the diegetic, fast paced carnival music – it induces a dizzying sensation, allowing the viewer to understand how the characters are feeling.
After the two manage to remove themselves from the carousel, they land in front of a group of tourists, who recoil in horror or simply stare. This reminds the audience -who may have become adjusted to the pair’s eccentric behaviour - that they are still considered abnormal, even in the carnival. The tourists could also be representative of the audience, in the sense that they can do nothing but watch the characters in shock, unable to intervene. The medium shot used enforces that idea, as it shows the scene from the POV eyeline of a confused

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