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|Entertainment - Movies|
|Tuesday, 07 August 2012 05:04|
Kathryn Bigelow returns to the land that is handled better: the Middle East. The Hurt Locker (The Hurt Locker), which swept the Oscars in 2009, tearing the statuettes for best picture and best director to film her ex-husband James Cameron is ambientaba in Iraq. And now the story is set in Afghanistan, for in his new film, Zero Dark Thirty, Bigelow is immersed in the military operation that ended the life of Osama Bin Laden. Among her casting is Jessica Chastain and Joel Edgerton. And we already have the first trailer, which sets the release date for December this year:
The existence of this work and the trailer itself open to reveal many interesting unknowns. The first points to the reasons why this work has been performed. Normally, a traumatic event delay its emergence on film by the difficulty of staging the grieving process. Hence the 11 / S has seen a motion picture rather late and, above all, quite conservative, extolling the archetype of the hero and the uniqueness of the event, looking alienate the country's reality. Instead, the reverse of the attack, the hunt for Bin Laden, which took place just a year and a half, you know a film adaptation. This shows the desire to build a cinema in the country's recent history, but as always, a history understood as a history of victories. And is that victories are always more films, for they know not dispute.
Screenwriter Mark Boal said in an interview with Entertainment Weekly that the reason for choice of topic was the admiration:
The second question is: is it really a victory of Bin Laden's murder? A democracy can be considered as progress the murder? Obama celebrated the terrorist hunt by the media as an achievement of the country's forces, but he forgot that a democracy should celebrate justice, not revenge. And of little use democratic values are to be universal (as shown by its emphasis on expanding the democratic system in the world) if the change of scenery, amnesia occurs in your application.
The third unknown: how far dare to get the film? Zero Dark Thirty flee from the political implications, because today it is impossible to question the wisdom of the killing of Osama mass media, let alone in Hollywood. Here we are not a matter of division between Democrats and Republicans: this is a fact concerning the entire nation and to the politicians kept a strict unit. So, do not trust the existence of a critical mark in the film. In fact, the very writer, Mark Boal, stated:
The trailer is sharp for the purpose of the film: "The story I think you knew / This is what happened." Thus, taking into account the background in the direction of Kathryn Bigelow, we can anticipate what we will get: an objective approach to the events, trying to ward off any discourse or interpretation thereof. And Bigelow, objectivity is based on the set of processes in its completeness, so if all facts are represented in its continuity without suppression will be achieved to avoid a distortion of reality.
Now, Bigelow is aware of the possible objectivity in the representations of reality, primarily because all part of a perspective. A fact can not be captured without the perspective that precedes it. Thus, the resource used is the explanation of the existence of a point of view on the set of events, so that the viewer is warned that failure to capture the overwhelming and complex reality. This is what happens in The Hurt Locker, and what is its strength and modernity: all events are filmed from the point of view of the U.S. Army, so that only you access to your vision and see only the Iraqis distance. There is a conscious exaggeration, looking noted that it is a film about the American side of the Iraq War, not a film about the Iraq War.
This raised blisters on film criticism, but I positioning myself for The Hurt Locker, because their mechanism allows to reveal that truth is elusive, and there remains only as a resource support this frustration and noted that everything goes through the filter of a viewpoint. In addition, the documentary touches of images with a camera of extreme mobility and imperfect composition, allowed a sense of realism, remembering the war stories, but we must be aware that it is a construct, a decision to start scene: it is a reality that is imposed on the camera but the camera creating realities. But it generates a sense of realism.
Zero Dark Thirty seems entroncarse with his previous work, then we will observe the hunt for Osama Bin Laden from the unique perspective of the U.S. Army and the camera seems to turn to, again, a documentary tone, or hidden cameras (as seen in a plane through the glass), two forms of representation that give a realistic status footage, although the camera is more appeased. If the film is inserted into the same dynamic, pointing exaggeratedly this unique view of the facts (which means, basically, a critique of monism point of view, not whether consciously or unconsciously), it may be interesting. But distrust of the issue and I fear that may be pure government propaganda. In December we will observe the results.
Photos: Entertainment Weekly