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Jetée · 03-09-2010, 03:30 PM

Regarding the above: I rarely call anything I see a 'movie' (too 1920s, 1990s); instead, what may be below 40 minutes is a short subject, (tv episode, cartoon, music video, documentary short, PTI, etc.) anything above 44 minutes is a series' episode, what may be above an hour can be classified as a feature, and what is staged in theatres is a film or performance.

Regarding Plan9's OP: as simple as I can put it, the director exercised creative licensing to whatever was portrayed by the film in question. Bigelow used the emotion more than what may have been factual because in cinema, that is how you attract an audience, period. Not everyone who goes to opening day or a matinee is a historian nor a expert on the matters in which they see flashed before them; so, directors and their consultants use what is available to them in order to show, as a whole, with a few minor discrepancies (along with a few major ones the editors should have caught) to film the seemingly unbelievable.

To wit: I just recently read about the stage play, and the film that derived from it--Frost/Nixon--and how the playwright veered from what was "historically accurate" to what appealed more to his particular audience, standing firm to his vision of how this sequence of events should be portrayed. What helped his cause more than his determination was that he was aided by an extraordinary showman such as Frank Langella.

Here's an excerpt that can directly be applied as to how The Hurt Locker was portrayed, and ultimately received, by critics' and the very few who actually saw this film: (compared to $ grossed in comparison with the other nine Academy nominees)

In the end it is not about (Nixon or Watergate) at all. It's about human behavior, and it rises upon such transcendent themes as guilt and innocence, resistance and enlightenment, confession and redemption. These are themes that straight history can rarely crystallize. In the presence of the playwright's achievement, the historian—or a participant—can only stand in the wings and applaud. [Reston Jr.]

03-09-2010, 03:30 PM	#12 (permalink)
Jetée The Reforms Location: Rarely, if ever, here or there, but always in transition	Regarding the above: I rarely call anything I see a 'movie' (too 1920s, 1990s); instead, what may be below 40 minutes is a short subject, (tv episode, cartoon, music video, documentary short, PTI, etc.) anything above 44 minutes is a series' episode, what may be above an hour can be classified as a feature, and what is staged in theatres is a film or performance. Regarding Plan9's OP: as simple as I can put it, the director exercised creative licensing to whatever was portrayed by the film in question. Bigelow used the emotion more than what may have been factual because in cinema, that is how you attract an audience, period. Not everyone who goes to opening day or a matinee is a historian nor a expert on the matters in which they see flashed before them; so, directors and their consultants use what is available to them in order to show, as a whole, with a few minor discrepancies (along with a few major ones the editors should have caught) to film the seemingly unbelievable. To wit: I just recently read about the stage play, and the film that derived from it--Frost/Nixon--and how the playwright veered from what was "historically accurate" to what appealed more to his particular audience, standing firm to his vision of how this sequence of events should be portrayed. What helped his cause more than his determination was that he was aided by an extraordinary showman such as Frank Langella. Here's an excerpt that can directly be applied as to how The Hurt Locker was portrayed, and ultimately received, by critics' and the very few who actually saw this film: (compared to $ grossed in comparison with the other nine Academy nominees) In the end it is not about (Nixon or Watergate) at all. It's about human behavior, and it rises upon such transcendent themes as guilt and innocence, resistance and enlightenment, confession and redemption. These are themes that straight history can rarely crystallize. In the presence of the playwright's achievement, the historian—or a participant—can only stand in the wings and applaud. [Reston Jr.] __________________ As human beings, our greatness lies not so much in being able to remake the world (that is the myth of the Atomic Age) as in being able to remake ourselves. —Mohandas K. Gandhi