Editing Filmmaker/James Cameron
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! Mass Extinction | ! Mass Extinction | ||
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! ''The Terminator'' (1984) | ! ''The Terminator'' (1984) | ||
| Skynet's nuclear apocalypse aims to exterminate humanity. | | Skynet's nuclear apocalypse aims to exterminate humanity. | ||
| | | Through the cyborg's POV, we see an extension of Skynet’s perception across time, breaking the barrier of time to fulfill its mission. | ||
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! ''Aliens'' (1986) | ! ''Aliens'' (1986) | ||
| The | | The potential for the alien species to overrun and exterminate humanity reflects a theme of mass extinction. | ||
| The use of helmet-mounted cameras by the Marines | | The use of helmet-mounted cameras by the Marines extends the perception of characters and audience into the colony’s investigation, creating a direct, immersive POV. | ||
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! ''The Abyss'' (1989) | ! ''The Abyss'' (1989) | ||
| | | An impending nuclear disaster symbolizes a human-driven mass extinction event. | ||
| The deployment of mini-submersibles with camera mounts | | The deployment of mini-submersibles with camera mounts allows characters (and the audience) to extend their perception into deep underwater crevices, exploring unknown territories. | ||
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! ''Terminator 2: Judgment Day'' (1991) | ! ''Terminator 2: Judgment Day'' (1991) | ||
| The continued threat of Skynet's nuclear war and the extermination of humanity. | | The continued threat of Skynet's nuclear war and the extermination of humanity. | ||
| The T-800 | | The advanced POV of both T-1000 and T-800 models further illustrates the extension of Skynet’s perception across time, showcasing a blend of human and machine capabilities. | ||
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! ''True Lies'' (1994) | ! ''True Lies'' (1994) | ||
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| | | Harry’s use of a cigarette case with a hidden camera to observe terrorists underlines the theme of extending perception, allowing a different POV on his targets. | ||
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! ''Titanic'' (1997) | ! ''Titanic'' (1997) | ||
| The disaster serves as a microcosm for human tragedy and loss, touching upon themes of existential threat. | | The disaster serves as a microcosm for human tragedy and loss, touching upon themes of existential threat. | ||
| The film extends perception through submersibles with cameras | | The film extends perception through both the abyss-like submersibles with cameras, offering a glimpse into the past, and old Rose’s storytelling, bridging a gap of 84 years to the present-day characters. | ||
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! ''Avatar'' (2009) | ! ''Avatar'' (2009) |