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马克·内维尔代和布莱恩·泰勒联合执导的两部数字动作电影《怒火攻心》(2006)及其续集《怒火攻心2:高压电》(2009)(两部影片都有相当一部分镜头是导演在疾驶的轮滑上拍摄的),其制作范式以及呈献给观众的视觉形象所表征的就是通过超男性化呈现出来的超媒介。此种电影拍摄手法不但能够体现出视觉文化的发展、男性主义与科技之间由来已久的密切联系,其所营造的逼真效果还预示着电影拍摄及制作日益融合的必然趋势。
Two digital action films “Fury and Heart” (2006) co-directed by Mark Neville and Brian Taylor and their sequel, “Fury and Heartbreak 2: High Voltage” (2009) (both films have quite a bit of footage Photographed on a skating rink), its production paradigm and the visual image presented to the audience are hypermedia presented through ultra-masculine. The filming technique not only reflects the development of visual culture, but also has a long history of connection between masculinity and science and technology. The realistic effect it creates also indicates the inevitable trend of increasingly converging filmmaking and production.