Most of the film’s perspectives are based on the objective perspective of various recording tools. At the beginning, the death of the soldier Sally, who was recorded by DV, in the middle of the film illustrates the possibility that the emotions of the person who controls the recording tools can be mixed into the entire film. .
For the commercial features that attract attention, this film does not use a continuous recording method to emphasize authenticity like the "Cloverfield/Cloverfield" released at the same time, and there is no such thing as a silver-free three hundred taels of the film itself. The identity is explained. On the contrary, at the beginning of the film, it was pointed out that this is a fictitious film. Of course, there may be reasons why the content of the film involves the insider issue of the country’s military, but I think that movies like Mike Moore can win the Palme d’Or grandiosely. There are definitely few factors in this aspect, and the director is just trying to bring less trouble to the publisher.
The brilliance of this film also happens to be that he did not set many rules for himself. Although he asked to tell such a real and fictitious event with a real touch, the choice of multiple perspectives was not too restrictive or more. Emphasize this rationality more. They include: Sali’s DV, surveillance videos outside the army’s camp, Iraqi journalists’ cameras, Surrey’s mini-cameras mounted on helmets, and video recordings via analog web pages. Using so many perspectives to convey to us the diversification and instantaneous effects of today's information dissemination channels, as well as people's possible doubts about the real "lens" called the non-liar eye.
The film is accompanied by classical music and near-real atrocities. Although they are not performed at the same time, they still remind us of "A Clockwork Orange". This is undoubtedly, but the difference between the two is also obvious. The use of Beethoven’s music and his exquisite and objective scene management complement each other, enhancing the dramatic composition and appeal of the film; while "Excerpts Revised" uses classical music, we will notice that the music is used at the beginning of the film to enhance It is untimely for American soldiers to patrol Iraqi soil (I want to add: this part of the shot may be understood as a picture captured by Salli using a tripod, but Salli’s appearance in the picture is objectively recorded and the shot from a high altitude is clearly denied. In view of this possibility, the director has not deliberately emphasized here, so there is no need to discuss it); another meaning is to emphasize the nature of recording through this untimely combination, which means that the director wants to imitate general documentaries. To emphasize the documentary nature of this film. On the contrary, when we watched this group of atrocities through the lens on the Sally helmet, there were only the barking of a few soldiers and the crying of girls, because the soundtrack at this time will mix the author’s subjective emotions, which is obviously not What the author wants is exactly the opposite of what Kubrick did in A Clockwork Orange, which is worth studying.
In this film, I admire Parma’s understanding of reality and the process of people’s understanding of problems. We all know that when an unexpected thing happens, we are more instinctive and fully aware of the whole incident. Recognition can only be after the incident happened for a period of time. During this period of time, we generally receive other people’s comments and opinions on the incident while the instinctive reaction to the accident slowly fades. Of course, these comments and opinions are not necessarily sober and objective, because they may not. After this period of time, after receiving these comments and opinions, the parties concerned will re-examine the whole incident from a third-party perspective. However, this process was taken by Parma through the captain’s participation, evasion, shock, crying, expressing attitude, and publishing. The series of recordings, explanations and retelling after returning to the United States allows us-the audience to understand the course of the event almost at the same time as the captain (in fact, we have more information than the captain himself), and then we instinctively confront our eyes. When the reflection of what happened was not completely eliminated, I heard the reaction of the captain, so we, the audience, were affected by his approach and attitude, and made corresponding revisions to the whole incident, so as to achieve the original director’s understanding. To set all of this to a certain degree that we need to recognize, we can compare the narrative and the audience’s reaction between this film and a story film with a normal perspective, and we will get this conclusion. In fact, we connect us through the captain’s reflection on the event. Let us reconsider this with the whole film, this kind of nesting through the screen to reality is really amazing.
Another thing I want to talk about is what I thought about during the filming process is why the author chooses a form of pseudo-recording, which allows the audience to wander between reality and fiction, questioning their own audience identity. I think this kind of questioning It is a kind of empathy that the director thinks about his own work. We all know that if it is a documentary, the photographer is not allowed to participate in the entire event, that is to say, as a documentary, he must not change the authenticity of the real event, otherwise he is deceiving the audience. Because the identity of the documentary is limited to this, otherwise it is not a documentary. Therefore, the author must strictly abide by this rule at all times, but it is often impossible for the author himself to be an emotional person while recording and not responding to the emotional impact of the event on him, because in fact he chose to shoot. Emotionally made a choice-at least he was interested in it. Therefore, when encountering an incident that easily touches on the issue of humanitarianism, the author will be a little at a loss and be in a dilemma between "faithful" recording and the implementation of humanitarian assistance. In fact, I think this is when shooting animal documentaries. More prominently, is it humanitarian if the target is animals? So the author began to doubt his own identity and position. This doubt or questioning Palma, who was filmed in this film, empathized to us, the audience, not only wanted to make us feel his dilemma, but also It is for us to think about this problem together-do we need conditions to think about humanitarianism?
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