Kustom Kar Kommandos :: essays research papers

The word-painting Kustom Kar Kommandos is an intriguing verbalism at the relationship between a man and his simple machine. The film, being scarcely ab surface 3 transactions long, is filled with many points of thought involving the character of this relationship. The short itself is about a man simply buffing and admiring his car, but with the spend of music, fades, and slow pans this becomes an erotic event.Playing Dream Lover from the start, Kenneth resentment has ground the sensual side of communicating with an automobile, while still keeping the movie free of blatant symbolic imagery. The scene of the short is a rattling plain stage. A pink backdrop with no props another(prenominal) than the car, our attention is already focused to the action to be presented. The shots are precise slow and very smooth, with fades and dissolves used abundantly for the transitions. The panning is do at a very slow pace, with the polishing being through with(p) at about the same speed . What could be only a fewer quick shots of a man have been dragged out into 3+ minutes of care and love to the car. The buffing rag itself is virgin totallyy white, having never seen any dirt on the car. Everything in the scene leads to a very innocent, sensual theme that Anger expresses so well in his cinematography.The hints of sexuality appear as in short as the first shot comes onscreen. The fluffy white buffing rag hugging the body of the car ever so slowly, it then finds its way to twain shiny circular (and very breast-like) objects that are part of the cars engine. Moving from the body to these two breasts, the buffer never wavers, never slithering up in its quest to polish every inch of the cars body and engine. Immediately afterwards, and in the same pan, the camera finds a hood ornament of a man sitting down (and simply fishing) with a very phallic fishing rod projecting out in the silhouette. It is shots like this that give the short its erotic undertone.Another inte rest aspect of the film is the ambiguity of the man polishing the car. The shots are all done very carefully, so that the mans face is never seen until the very end of the short. At one point it goes to a skinny up of the body being buffed, with a fairly revealing coefficient of reflection of the man, but not his face.