Abstract

The cinema has long reigned as the kinetic medium of the twentieth century. Early in itsdevelopment it secured its privilege over the more traditional arts through itsunprecedented control and manipulation of time. In The Great Train Robbery and Life of an American Fireman crowds had theirfirst experiences of film crosscutting between two different spaces and moments in time.1They saw a shot of a raging house fire, and then suddenly a shot of a sleeping firemanin the station. Between these two spaces is a simple cut, and yet here is the preciselocation of a vast frontier: the pleasure of waiting for something forever on the verge ofarrival. This expectation of the event, the catastrophe, and the culmination, is the fuel formodern cinema. The Hollywood tradition has been a developing story of technology’sattempts to exploit this passion, pushing the barriers of how much suspense can beintroduced and resolved within the space of a screen and a segment of time, and in the past thirty years the action film has become one of the most exciting genres, spinning offnumerous subgenres and transforming the industry