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Shaky camera
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<h2 id="history">History</h2> <p class="note">Main article: <a href="/facts/History_of_film/Jb0yDMVC">History of film</a></p> <p>Traditionally, still and motion <a href="/facts/Photography/ezLPT43M">photography</a> have relied on firm, stable mountings for a jitter-free image. Great effort is spent to obtain a perfectly stable image.<a class="footnote-ref" id="fnref:10" href="#fn:10"><sup>10</sup></a> However, experiments with hand-held camera began as early as 1925 with <a href="/facts/Ewald_Andr%25C3%25A9_Dupont/HW5T7Q3w">Ewald André Dupont</a>'s <i><a href="/facts/Variet%25C3%25A9/6I5CcJlw">Varieté</a></i> and <a href="/facts/Abel_Gance/IygHbuph">Abel Gance</a>'s <i><a href="/facts/Napol%25C3%25A9on_(1927_film)/cXeVQUu9">Napoléon</a></i>.<a class="footnote-ref" id="fnref:11" href="#fn:11"><sup>11</sup></a> </p><p>Hand-held camera movements became more prominent in some <a href="/facts/Feature_film/v115s81Q">feature films</a> of the 1960s, including a number of <a href="/facts/John_Cassavetes/rqARNufW">John Cassavetes</a>-directed films. <a href="/facts/Jonas_Mekas/mAo3wcR2">Jonas Mekas</a> named and defended the "shaky camera" work of <a href="/facts/Experimental_film/AnMEMjrw">avant-garde</a> filmmakers, writing in <i><a href="/facts/Film_Culture/Wfw4QegK">Film Culture</a></i> in 1962 that he was "sick and tired of the guardians of Cinema Art" accusing the new cinematographers of poor camera skills.<a class="footnote-ref" id="fnref:12" href="#fn:12"><sup>12</sup></a> Mekas saw it as an inexpensive improvisational technique, one that allowed for greater artistic and financial freedom.<a class="footnote-ref" id="fnref:13" href="#fn:13"><sup>13</sup></a> Other examples of 1960s hand-held usage include <i><a href="/facts/The_Miracle_Worker_(1962_film)/9wH7Y6BL">The Miracle Worker</a></i>, <i><a href="/facts/Seven_Days_in_May/95R9dVpn">Seven Days in May</a></i>, <i><a href="/facts/The_Battle_of_Algiers_(film)/VWHpaNE9">The Battle of Algiers</a></i> and <i><a href="/facts/Dr._Strangelove/QfYCyoPI">Dr. Strangelove</a></i>.<a class="footnote-ref" id="fnref:14" href="#fn:14"><sup>14</sup></a> The <a href="/facts/Cinema_of_Japan/ggDBDANc">Japanese filmmaker</a> <a href="/facts/Kinji_Fukasaku/KfFnPDoD">Kinji Fukasaku</a> was known for using shaky hand-held camera shots as a trademark in many of his films, most notably 1970s <a href="/facts/Yakuza_film/FCTtJQe1">yakuza films</a> such as <i><a href="/facts/Battles_Without_Honor_and_Humanity/3Nu4jFjW">Battles Without Honor and Humanity</a></i><a class="footnote-ref" id="fnref:15" href="#fn:15"><sup>15</sup></a> as well as in <i><a href="/facts/Battle_Royale_(film)/lP95wyvt">Battle Royale</a></i>. </p><p>In 1981, the "shaky cam" style was named, and given new energy.<a class="footnote-ref" id="fnref:16" href="#fn:16"><sup>16</sup></a> In the film <i><a href="/facts/The_Evil_Dead/MhHbcKWo">The Evil Dead</a></i>, director <a href="/facts/Sam_Raimi/rmYWnsV7">Sam Raimi</a> ordered Tim Philo, his cinematographer, to bolt a camera to a <a href="/facts/Lumber/jJfdSlJ6">two-by-four-inch piece of lumber</a>, 22 inches long, and have two strong <a href="/facts/Grip_(job)/X9zEuIlw">grips</a> hold it and run down a city block, bumping over fallen bodies, following a female character, after which the camera was swung roughly around to go the other way.<a class="footnote-ref" id="fnref:17" href="#fn:17"><sup>17</sup></a> Another shaky camera effect invented on that film was one the crew called "Blank-O-Cam", where the cameraman would lie on a blanket and be carried in it by four grips, the camera pointed forward near ground level to track people's feet.<a class="footnote-ref" id="fnref:18" href="#fn:18"><sup>18</sup></a> Further shaky cam techniques were employed by Raimi on his subsequent films including <i><a href="/facts/Crimewave/tA3L5KCB">Crimewave</a></i> in 1985.<a class="footnote-ref" id="fnref:19" href="#fn:19"><sup>19</sup></a> </p><p>In 1984, the <a href="/facts/Coen_brothers/s8MnBqDF">Coen brothers</a> and their cinematographer <a href="/facts/Barry_Sonnenfeld/KPpn4lpH">Barry Sonnenfeld</a> used shaky cam techniques in <i><a href="/facts/Blood_Simple/BJjGCPqY">Blood Simple</a></i>, then again in 1987's <i><a href="/facts/Raising_Arizona/4aY0rkmB">Raising Arizona</a></i>.<a class="footnote-ref" id="fnref:20" href="#fn:20"><sup>20</sup></a> <a href="/facts/Woody_Allen/nTETed3q">Woody Allen</a>'s improvisational style of filmmaking was matched with hand-held camera techniques in <i><a href="/facts/Husbands_and_Wives/QARPTgsd">Husbands and Wives</a></i>, shot by <a href="/facts/Carlo_Di_Palma/mdgambyM">Carlo Di Palma</a> in 1991 and 1992.<a class="footnote-ref" id="fnref:21" href="#fn:21"><sup>21</sup></a> The film's opening scene uses the hand-held style to achieve a sense of "free-floating anxiety and terminal loss of moorings."<a class="footnote-ref" id="fnref:22" href="#fn:22"><sup>22</sup></a> Reviewers joked that <a href="/facts/Dramamine/MFzMNo3P">Dramamine</a> was required to prevent motion sickness.<a class="footnote-ref" id="fnref:23" href="#fn:23"><sup>23</sup></a> Allen and Di Palma continued to use the technique but with more finesse and restraint<a class="footnote-ref" id="fnref:24" href="#fn:24"><sup>24</sup></a> on <i><a href="/facts/Manhattan_Murder_Mystery/eUQKSUKA">Manhattan Murder Mystery</a></i> and subsequent films throughout the 1990s to save time spent on principal photography, and to stay within budget.<a class="footnote-ref" id="fnref:25" href="#fn:25"><sup>25</sup></a> </p><p>The 1993 police drama <i><a href="/facts/NYPD_Blue/KgTnTgHN">NYPD Blue</a></i> is recognized by many[<i>who?</i>] as the first television show to use shaky and swooping shots for most of its camera work. In 1994, the TV series <i><a href="/facts/ER_(TV_series)/CJa39EBx">ER</a></i> employed shaky camera techniques, as did the 1996 disaster film <i><a href="/facts/Twister_(1996_film)/RvcI8YsU">Twister</a></i>.<a class="footnote-ref" id="fnref:26" href="#fn:26"><sup>26</sup></a> Danish director <a href="/facts/Lars_von_Trier/NelulKJ1">Lars von Trier</a> used shaky camera, called 'free camera', in his movies. The <i><a href="/facts/Dogme_95/XRJj7SUH">Dogme 95</a></i> movement he co-created in 1995 was partly based on the technique.<a class="footnote-ref" id="fnref:27" href="#fn:27"><sup>27</sup></a> Trier's 2000 film <i><a href="/facts/Dancer_in_the_Dark/P3M4tmGt">Dancer in the Dark</a></i> was criticized for having too much shaky camera motion.<a class="footnote-ref" id="fnref:28" href="#fn:28"><sup>28</sup></a> </p><p><a href="/facts/Janusz_Kami%25C5%2584ski/8lCnXDHS">Janusz Kamiński</a>, cinematographer for <a href="/facts/Steven_Spielberg/KeqLPKoS">Steven Spielberg</a> on 1998's <i><a href="/facts/Saving_Private_Ryan/4HdhrwcF">Saving Private Ryan</a></i>, used a traditionally shot scene of a modern-day cemetery to open the film. For the initial action sequence, he used the hand-held camera technique to depict the gritty intensity and brutality of the <a href="/facts/Normandy_Landings/q4wsAqGV">1944 Normandy beach assault on D-Day</a>, from the boat to the beach and beyond.<a class="footnote-ref" id="fnref:29" href="#fn:29"><sup>29</sup></a> The 1999 film <i><a href="/facts/The_Blair_Witch_Project/nLzwLe6h">The Blair Witch Project</a></i> made extensive use of shaky cam to make the film look like recovered <a href="/facts/Documentary/T0FBJpMR">documentary</a> camera footage. In 2009, the Dutch movie <a href="/facts/Winter_in_Wartime_(film)/M7NndlBT"><i>Winter in Wartime</i> (film)</a> (released in the US in 2010) made use of the shaky cam. The 2007 films <a href="/facts/The_Bourne_Ultimatum_(film)/6hYnvMYH">The Bourne Ultimatum</a> and <a href="/facts/The_Kingdom_(2007_film)/sB8p1fWH">The Kingdom</a> and the 2009 films <a href="/facts/Rampage_(2009_film)/xfvdr2IV"><i>Rampage</i></a> and <a href="/facts/Darfur_(film)/Mg6CALgq"><i>Darfur</i></a> make much use of the shaky camera. </p> <h2 id="reactions">Reactions</h2> <p>Several films have been criticized for excessive shaky camera technique. The <a href="/facts/The_Bourne_Supremacy_(film)/feb9BQjM">second</a> and <a href="/facts/The_Bourne_Ultimatum_(film)/6hYnvMYH">third</a> installments of the <a href="/facts/Bourne_(franchise)/zus1Uf2y">Bourne action film franchise</a> directed by <a href="/facts/Paul_Greengrass/cc1KD9Fp">Paul Greengrass</a> were described by film critic <a href="/facts/Roger_Ebert/ogYo6zQj">Roger Ebert</a> as using both shaky cam and <a href="/facts/Fast_cutting/UITfMCjc">fast editing</a> techniques.<a class="footnote-ref" id="fnref:30" href="#fn:30"><sup>30</sup></a> Ebert did not mind it but many of his readers complained—one calling it "Queasicam".<a class="footnote-ref" id="fnref:31" href="#fn:31"><sup>31</sup></a> Film professors <a href="/facts/David_Bordwell/tBDdLQrH">David Bordwell</a> and <a href="/facts/Kristin_Thompson/UYDfxdh3">Kristin Thompson</a> described the development of the technique over 80 years of cinema and noted that Greengrass used more than the usual shaky camera motion to make it intentionally jerky and bouncy, coupled with a very short <a href="/facts/Average_shot_length/NIwd6esy">average shot length</a> and a decision to incompletely <a href="/facts/Composition_(visual_arts)/ts4RRPV8">frame</a> the action.<a class="footnote-ref" id="fnref:32" href="#fn:32"><sup>32</sup></a> </p><p>The films <i><a href="/facts/Friday_Night_Lights_(film)/Sfaojh1p">Friday Night Lights</a></i> (2004),<a class="footnote-ref" id="fnref:33" href="#fn:33"><sup>33</sup></a> <i><a href="/facts/Cloverfield/eUD70KKH">Cloverfield</a></i> (2008)<a class="footnote-ref" id="fnref:34" href="#fn:34"><sup>34</sup></a> and <i><a href="/facts/American_Honey_(film)/1ACE9vJb">American Honey</a></i> (2016) have been described as making viewers nauseated or sick. </p><p>Director <a href="/facts/Christopher_McQuarrie/huzavpXS">Christopher McQuarrie</a> has criticized the technique as a gimmick used to try and hide the lack of real energy in a scene.<a class="footnote-ref" id="fnref:35" href="#fn:35"><sup>35</sup></a> </p> <h2 id="see-also">See also</h2> <ul><li><a href="/facts/Direct_cinema/tfnXFIjV">Direct cinema</a></li> <li><a href="/facts/Dutch_angle/eEcdA6vH">Dutch angle</a></li> <li><a href="/facts/Found_footage_(pseudo-documentary)/zdyCzK35">Found footage (pseudo-documentary)</a></li> <li><a href="/facts/Jump_cut/qKyKrIe4">Jump cut</a></li> <li><a href="/facts/Pan_and_scan/I0uUvYQv">Pan and scan</a></li> <li><a href="/facts/Tilt_(camera)/aLbKhrog">Tilt (camera)</a></li></ul> <h2 id="references">References</h2> <ol> <li id="fn:1"><p>Mekas, Jonas. "A Note on the Shaky Camera." Film Culture, issues 24-27, 1962. <a href="/wiki/Jonas_Mekas" target="_blank">/wiki/Jonas_Mekas</a> <a href="#fnref:1" class="footnote-back-ref">↩</a></p></li> <li id="fn:2"><p>Muir, John Kenneth. The Unseen Force: the films of Sam Raimi, pp. 81, 303–306. Hal Leonard Corporation, 2004. ISBN 1-55783-607-8 <a href="/wiki/ISBN_(identifier)" target="_blank">/wiki/ISBN_(identifier)</a> <a href="#fnref:2" class="footnote-back-ref">↩</a></p></li> <li id="fn:3"><p>"Queasy-cam face-off". www.theaustralian.com.au. 2011-09-09. Retrieved 2019-08-20. <a href="https://www.theaustralian.com.au/arts/queasy-cam-face-off-for-david-williamson-adaptation/news-story/12dd738843a9bde49d49afca18d30eb9" target="_blank">https://www.theaustralian.com.au/arts/queasy-cam-face-off-for-david-williamson-adaptation/news-story/12dd738843a9bde49d49afca18d30eb9</a> <a href="#fnref:3" class="footnote-back-ref">↩</a></p></li> <li id="fn:4"><p>Bordwell, David; Kristin Thompson. "Unsteadicam chronicles." Observations on film art, August 17, 2007. Retrieved on October 2, 2009. <a href="http://www.davidbordwell.net/blog/?p=1175" target="_blank">http://www.davidbordwell.net/blog/?p=1175</a> <a href="#fnref:4" class="footnote-back-ref">↩</a></p></li> <li id="fn:5"><p>Bordwell, David; Kristin Thompson. "Unsteadicam chronicles." Observations on film art, August 17, 2007. Retrieved on October 2, 2009. <a href="http://www.davidbordwell.net/blog/?p=1175" target="_blank">http://www.davidbordwell.net/blog/?p=1175</a> <a href="#fnref:5" class="footnote-back-ref">↩</a></p></li> <li id="fn:6"><p>Bordwell, David; Kristin Thompson. "Unsteadicam chronicles." Observations on film art, August 17, 2007. Retrieved on October 2, 2009. <a href="http://www.davidbordwell.net/blog/?p=1175" target="_blank">http://www.davidbordwell.net/blog/?p=1175</a> <a href="#fnref:6" class="footnote-back-ref">↩</a></p></li> <li id="fn:7"><p>Bailey, Peter J. The Reluctant Film Art of Woody Allen, pp. 188, 193, 303. University Press of Kentucky, 2003. ISBN 0-8131-9041-X <a href="/wiki/ISBN_(identifier)" target="_blank">/wiki/ISBN_(identifier)</a> <a href="#fnref:7" class="footnote-back-ref">↩</a></p></li> <li id="fn:8"><p>Ebert, Roger. "The Shaky-Queasy-Utimatum." RogerEbert.com, August 22, 2007. Retrieved on October 2, 2009. <a href="/wiki/Roger_Ebert" target="_blank">/wiki/Roger_Ebert</a> <a href="#fnref:8" class="footnote-back-ref">↩</a></p></li> <li id="fn:9"><p>Dellorto, Danielle. "Scary movie making viewers sick". www.cnn.com. Retrieved 2018-01-03. <a href="http://www.cnn.com/2008/HEALTH/01/24/movie.sickness/index.html" target="_blank">http://www.cnn.com/2008/HEALTH/01/24/movie.sickness/index.html</a> <a href="#fnref:9" class="footnote-back-ref">↩</a></p></li> <li id="fn:10"><p>"The End of the Shaky Camera". Videomaker.com. Retrieved 2018-01-03. <a href="http://www.videomaker.com/article/9999/" target="_blank">http://www.videomaker.com/article/9999/</a> <a href="#fnref:10" class="footnote-back-ref">↩</a></p></li> <li id="fn:11"><p>Bordwell, David; Kristin Thompson. "Unsteadicam chronicles." Observations on film art, August 17, 2007. Retrieved on October 2, 2009. <a href="http://www.davidbordwell.net/blog/?p=1175" target="_blank">http://www.davidbordwell.net/blog/?p=1175</a> <a href="#fnref:11" class="footnote-back-ref">↩</a></p></li> <li id="fn:12"><p>Mekas, Jonas. "A Note on the Shaky Camera." Film Culture, issues 24-27, 1962. <a href="/wiki/Jonas_Mekas" target="_blank">/wiki/Jonas_Mekas</a> <a href="#fnref:12" class="footnote-back-ref">↩</a></p></li> <li id="fn:13"><p>Mekas, Jonas. "A Note on the Shaky Camera." Film Culture, issues 24-27, 1962. <a href="/wiki/Jonas_Mekas" target="_blank">/wiki/Jonas_Mekas</a> <a href="#fnref:13" class="footnote-back-ref">↩</a></p></li> <li id="fn:14"><p>Bordwell, David; Kristin Thompson. "Unsteadicam chronicles." Observations on film art, August 17, 2007. Retrieved on October 2, 2009. <a href="http://www.davidbordwell.net/blog/?p=1175" target="_blank">http://www.davidbordwell.net/blog/?p=1175</a> <a href="#fnref:14" class="footnote-back-ref">↩</a></p></li> <li id="fn:15"><p>Berra, John (2010). Directory of World Cinema: Japan (1 ed.). Bristol, UK: Intellect Books. p. 115. ISBN 978-1-84150-335-6. <a href="978-1-84150-335-6" target="_blank">978-1-84150-335-6</a> <a href="#fnref:15" class="footnote-back-ref">↩</a></p></li> <li id="fn:16"><p>Muir, John Kenneth. The Unseen Force: the films of Sam Raimi, pp. 81, 303–306. Hal Leonard Corporation, 2004. ISBN 1-55783-607-8 <a href="/wiki/ISBN_(identifier)" target="_blank">/wiki/ISBN_(identifier)</a> <a href="#fnref:16" class="footnote-back-ref">↩</a></p></li> <li id="fn:17"><p>Muir, John Kenneth. The Unseen Force: the films of Sam Raimi, pp. 81, 303–306. Hal Leonard Corporation, 2004. ISBN 1-55783-607-8 <a href="/wiki/ISBN_(identifier)" target="_blank">/wiki/ISBN_(identifier)</a> <a href="#fnref:17" class="footnote-back-ref">↩</a></p></li> <li id="fn:18"><p>Muir, John Kenneth. The Unseen Force: the films of Sam Raimi, pp. 81, 303–306. Hal Leonard Corporation, 2004. ISBN 1-55783-607-8 <a href="/wiki/ISBN_(identifier)" target="_blank">/wiki/ISBN_(identifier)</a> <a href="#fnref:18" class="footnote-back-ref">↩</a></p></li> <li id="fn:19"><p>Von Busack, Richard. "Fresh 'Blood': The re-release of 'Blood Simple' shows the Coen brothers learning the ropes." Metroactive.com Movies. July 13–19, 2000. Retrieved on October 2, 2009. <a href="http://www.metroactive.com/papers/metro/07.13.00/bloodsimple-0028.html" target="_blank">http://www.metroactive.com/papers/metro/07.13.00/bloodsimple-0028.html</a> <a href="#fnref:19" class="footnote-back-ref">↩</a></p></li> <li id="fn:20"><p>Von Busack, Richard. "Fresh 'Blood': The re-release of 'Blood Simple' shows the Coen brothers learning the ropes." Metroactive.com Movies. July 13–19, 2000. Retrieved on October 2, 2009. <a href="http://www.metroactive.com/papers/metro/07.13.00/bloodsimple-0028.html" target="_blank">http://www.metroactive.com/papers/metro/07.13.00/bloodsimple-0028.html</a> <a href="#fnref:20" class="footnote-back-ref">↩</a></p></li> <li id="fn:21"><p>Meade, Marion. The unruly life of Woody Allen: a biography, p. 13. Simon and Schuster, 2000. ISBN 0-684-83374-3 <a href="/wiki/ISBN_(identifier)" target="_blank">/wiki/ISBN_(identifier)</a> <a href="#fnref:21" class="footnote-back-ref">↩</a></p></li> <li id="fn:22"><p>Bailey, Peter J. The Reluctant Film Art of Woody Allen, pp. 188, 193, 303. University Press of Kentucky, 2003. ISBN 0-8131-9041-X <a href="/wiki/ISBN_(identifier)" target="_blank">/wiki/ISBN_(identifier)</a> <a href="#fnref:22" class="footnote-back-ref">↩</a></p></li> <li id="fn:23"><p>Bailey, Peter J. The Reluctant Film Art of Woody Allen, pp. 188, 193, 303. University Press of Kentucky, 2003. ISBN 0-8131-9041-X <a href="/wiki/ISBN_(identifier)" target="_blank">/wiki/ISBN_(identifier)</a> <a href="#fnref:23" class="footnote-back-ref">↩</a></p></li> <li id="fn:24"><p>Bailey, Peter J. The Reluctant Film Art of Woody Allen, pp. 188, 193, 303. University Press of Kentucky, 2003. ISBN 0-8131-9041-X <a href="/wiki/ISBN_(identifier)" target="_blank">/wiki/ISBN_(identifier)</a> <a href="#fnref:24" class="footnote-back-ref">↩</a></p></li> <li id="fn:25"><p>Meade, Marion. The unruly life of Woody Allen: a biography, p. 13. Simon and Schuster, 2000. ISBN 0-684-83374-3 <a href="/wiki/ISBN_(identifier)" target="_blank">/wiki/ISBN_(identifier)</a> <a href="#fnref:25" class="footnote-back-ref">↩</a></p></li> <li id="fn:26"><p>Burke-Weiner, Larry. How the Masters Move: Creative Camera Play, Videomaker.com. July 1997. Retrieved on October 2, 2009. <a href="http://www.videomaker.com/article/2946/" target="_blank">http://www.videomaker.com/article/2946/</a> <a href="#fnref:26" class="footnote-back-ref">↩</a></p></li> <li id="fn:27"><p>Bordwell, David; Kristin Thompson. "Unsteadicam chronicles." Observations on film art, August 17, 2007. Retrieved on October 2, 2009. <a href="http://www.davidbordwell.net/blog/?p=1175" target="_blank">http://www.davidbordwell.net/blog/?p=1175</a> <a href="#fnref:27" class="footnote-back-ref">↩</a></p></li> <li id="fn:28"><p>Bordwell, David; Kristin Thompson. "Unsteadicam chronicles." Observations on film art, August 17, 2007. Retrieved on October 2, 2009. <a href="http://www.davidbordwell.net/blog/?p=1175" target="_blank">http://www.davidbordwell.net/blog/?p=1175</a> <a href="#fnref:28" class="footnote-back-ref">↩</a></p></li> <li id="fn:29"><p>Nix. "Saving Private Ryan (1998) Movie Review." Archived 2008-09-19 at the Wayback Machine BeyondHollywood.com, May 25, 2002. Retrieved on October 2, 2009. <a href="http://www.beyondhollywood.com/saving-private-ryan-1998-movie-review/" target="_blank">http://www.beyondhollywood.com/saving-private-ryan-1998-movie-review/</a> <a href="#fnref:29" class="footnote-back-ref">↩</a></p></li> <li id="fn:30"><p>Ebert, Roger. "The Shaky-Queasy-Utimatum." RogerEbert.com, August 22, 2007. Retrieved on October 2, 2009. <a href="/wiki/Roger_Ebert" target="_blank">/wiki/Roger_Ebert</a> <a href="#fnref:30" class="footnote-back-ref">↩</a></p></li> <li id="fn:31"><p>Ebert, Roger. "The Shaky-Queasy-Utimatum." RogerEbert.com, August 22, 2007. Retrieved on October 2, 2009. <a href="/wiki/Roger_Ebert" target="_blank">/wiki/Roger_Ebert</a> <a href="#fnref:31" class="footnote-back-ref">↩</a></p></li> <li id="fn:32"><p>Bordwell, David; Kristin Thompson. "Unsteadicam chronicles." Observations on film art, August 17, 2007. Retrieved on October 2, 2009. <a href="http://www.davidbordwell.net/blog/?p=1175" target="_blank">http://www.davidbordwell.net/blog/?p=1175</a> <a href="#fnref:32" class="footnote-back-ref">↩</a></p></li> <li id="fn:33"><p>"Film Monthly.com – Friday Night Lights (2004)". www.filmmonthly.com. Retrieved 2018-01-03. <a href="http://www.filmmonthly.com/Video/Articles/FridayNightLights/FridayNightLights.html" target="_blank">http://www.filmmonthly.com/Video/Articles/FridayNightLights/FridayNightLights.html</a> <a href="#fnref:33" class="footnote-back-ref">↩</a></p></li> <li id="fn:34"><p>Dellorto, Danielle. "Scary movie making viewers sick". www.cnn.com. Retrieved 2018-01-03. <a href="http://www.cnn.com/2008/HEALTH/01/24/movie.sickness/index.html" target="_blank">http://www.cnn.com/2008/HEALTH/01/24/movie.sickness/index.html</a> <a href="#fnref:34" class="footnote-back-ref">↩</a></p></li> <li id="fn:35"><p>"Interview: Christopher McQuarrie". Film Comment. 2015-07-30. Retrieved 2019-08-20. <a href="https://www.filmcomment.com/blog/interview-christopher-mcquarrie/" target="_blank">https://www.filmcomment.com/blog/interview-christopher-mcquarrie/</a> <a href="#fnref:35" class="footnote-back-ref">↩</a></p></li> </ol>