Reaction Shot Take2

My first attempt at the reaction shot was an emulation one of Michael Bay's "Bayhem" shots described by Tony Zhou in Every Frame a Painting. I hoped an iconic cinematic shot with an over the top sense or “epicness” would have a satirical effect, endearing the character to the audience through sympathy, similar to the affection fans of the Charles M. Schultz have for Charlie Brown.

Beyham - "use of movement composition and fast editing to create a sense of epic scale" through "layers of depth, parallax, movement, character, and environment" (Zhao)

The performative function of the reaction shot should be an alignment of the audience with the protagonist and an introduction to the goose's vulnerability through a visible awareness of his own fallibility. The intended perlocution is identification and affection through empathy (naïve demeanor under threat), but early test shots made it clear that the "Bayhem" shots were not going to be effective.

Tony Zhou describes Michal Bay's shots as having a good deal of “impact”, but more specifically there is an awe and admiration for the character who is literally and figuratively standing to face the challenging in a chaotic world. The Bayham primitive is awe generated by a metaphoric link to imagery and conceptual conjugate.

Austin categorized communicative failures, and Ronald Grimes wrote about the application of his taxonomy to ritual failure. The failure of this shot might fall under a “misinvocation” and/or a “misfire” because the act was “purported but void” due to a “misexecution” vitiating the act through flaw. But I think categorization of infelicities in narrative falls outside of Austin's scheme because the projected application of his theory is radically different from the nuances of performative narrative communication. For analysis of multiplatform narrative communication classification of primitives through their relationship to the perlocution would be the most effective tool for the deconstruction, analysis, and construction of narrative performative acts.