Modernity and the Will of Director
The climax of "Assassination of Bin Laden" undoubtedly should fall on top of the capture scene of the last chapter { Canary }. This section may be praised as "extremely documentary drama", for The visual form and narrative purpose of the motif of "hunting" in the whole film and even the title is a summary of the visual form and narrative purpose. There are some obvious characteristic elements in this capture scene that can be directly put out: extremely low illumination, Shooting in the real night state; lighting as natural as possible at night, see details in the interior of the flying equipment and the interior of the villa; the stitching of the main and guest lens, the viewpoint lens and environment of various night vision devices; the panoramic lens of overlooking, The large space that must be needed is explained and so on...
When can the capture scene composed of these visible elements and the less visible "elements" be grammatically "able" and "fit" for the documentary nature? This is like saying: When can a screw with a so-called No. 5 size be judged to "fit" a nut with a so-called No. 5 size? The answer, of course, is that only when the screw can be screwed into the nut can it be "fitted". For this scene, the above-mentioned "screws" of illumination, lighting, night vision lens subjective and objective lenses, and overhead panoramic lenses can match the so-called "nut" essence of the documentary. In the middle, you can say yes: Is this a capture scene presented in a documentary? The answer is definitely more complicated than the answer of screw and nut fitting. It can be said that the recordability defined by these elements, and the application that uses these elements to define recordability, is more complicated than we tend to think. As for asserting that these elements are insufficient or undefinable for the so-called recordability, it is even more an inadequate evasive argument.
Looking back at the interpretation of this play by critics, it is generally summarized by the invented concept of pseudo-documentary. Of course, there are problems of hypothesis and authenticity that have always existed in images, like saying: "Of course I know that this is not a documentary, otherwise it should be the real bin Laden who was killed in the end. There is obviously an actor in it" and "Of course it is a documentary, because you look at the plot composed of those elements, really "Is it too realistic and substitutable" means the same or different images? We can say that under certain circumstances, or in the overall environment of the movie "Assassination of Bin Laden", these two descriptions have the same meaning, but it can also be said that in general, these two descriptions are Definitely will not have the same meaning. We can indeed say "this is not a documentary, but a pseudo-documentary at best. It means that the lighting, shots, and scheduling of this scene are specially rehearsed at a glance." We can also say "this is not a documentary, but a pseudo-documentary at best." , Means that although this drama is very "real" and "substitute", but the actors playing the US special forces are all Hollywood stars that I know well", which means that this is actually a pseudo-documentary. Compare with other conditions.
So what makes the viewer suddenly realize that this scene is a "pseudo-record"? The viewer may say that it is a special feeling, as if this kind of consciousness has been acting in the stage before the movie, and this catching plot was there at the beginning. But the ensuing environment substitution may also make the viewer think whether this is a real record? But can't the viewer know for sure that the pseudo-record was known at some point? In a sense, this idea is still there, but in what sense? The viewer may say that he/she heard from other people's comments, from news reports, from my experience in other movies, from the beginning of the movie, etc... .. I know this idea has always been there, then, this kind of “affirmation” and this kind of “knowledge” is presented in the minds of the viewer in a certain way at that moment. Suddenly I was aware of the definition of this expression.
In other words, it is believed that there is a totality of conditions that meet each of the pseudo-records and the non-true records, and these conditions are met, it can be said that this scene will definitely have to be "pseudo-documentary." The falseness of the "pseudo" and the authenticity of the "documentary" have moved closer, and the suspension of the "pseudo-documentary" no longer exists. In this way, as soon as the meaning appears, the spirit of the viewer can be said to have already flown into the distant future and has completed all the construction of seeing the truth or not before witnessing the image with his own eyes.
Such a non-suspension attribute may also be the crux of "Assassination of Bin Laden". After all, Bigelow, as a female director, has always been regarded by critics as an extremely hard-core, more crudely realistic director than many crudely realistic male directors. For female directors, the problem is firstly manifested in the strong logic and strong procedural nature of hardcore realism. Such a strong segmented instrumental rationality will definitely reduce all kinds of metaphors about the pursuit process or persistence or symbolism. This is in line with Bigelow. The documentary aesthetics that has always been pursued are bound to be disenchanted again and again in the pursuit of bin Laden. To put it bluntly, such a result is undoubtedly extremely mechanical and evolutionary. There is absolutely no us here. As a model worker, she joined the CIA immediately after graduating from high school. She devoted herself to arresting Bin Laden's position as a solitary agent who spent decades of energy and painstaking effort. Furthermore, in the narrative structure, "The Assassination of Bin Laden" also reflects a problem that cannot be ignored, that is, the model worker sister who is the core of the single line is not an agent who goes directly to the front line, so the plot will definitely focus on the heroine in the single line. When it is impossible, it will inevitably be divided into two or even multiple lines, and it is difficult to achieve the coherence pursued by a linear narrative with a worker model sister at the core, which leads to a deeper mixed problem. The good thing is that the continuous change of the plot brings about The dramatic tension of Bigelow is the same as Bigelow’s feminist women’s delicate side to control the rhythm properly, but the bad side will lead Bigelow’s unanimous efforts to disintegrate what Mr. Mulvey said, women are stared at. The disintegration of the perspective then becomes an all-round objective perspective and a Mulvey-style construction perspective in which the model worker has to stare again at the female as long as she focuses on the model worker.
When all the deviations are brought together, they will eventually converge into a question of the quintessential Cartesian observer. Of course, the objective form of the observer does not have a so-called relationship with reality. The resulting aesthetics are also semantic, figurative, rhetorical, and rhetorical. Even romantic, the understanding contained in such a purposeless framework is implied and also in line with Bigelow as an observer who may not have been to the submarine scene, the front line of Afghanistan, the Iraqi war zone, etc., as a director should be an observer. The role, just to show the so-called "real" Hollywood-style imagination can completely preserve the "objective" feeling of this video game.
However, Bigelow, as a female director, always can’t help but ask questions from the point of view of a woman who should be “sensitive and delicate”, to further understand “truth and objectiveness” too much, and ask why A female director who can be sensitive and delicate must be more delicate and sensitive in some biological determinism than a male director who is equally sensitive and delicate? If expressing and conveying "objective reality" is more sensitive and delicate from the perspective of feminism, it is of course a more complete appearance in a certain environment, then a kind of "objective reality" that only women have What is the unique appearance of imaginary restoration for female directors? We can say that Bigelow and Model Workers want to make such a movie that reflects the results of the war on terrorism, they must go to the front lines of Afghanistan and Pakistan to experience it on the ground. They can shoot, perform, and schedule design while the scene is placed. These three are traveling together and cannot be separated. Is it a unique appearance? However, on the other hand, Bigelow and Model Lao can also say that in this side-by-side shooting, a certain idea passes through their minds like an electric current and guides them in the next shooting. The so-called "sudden understanding" What is the expression mark of "? Was it the mechanically subdued use of the so-called pseudo-recording elements in the previous article, or was it a mysterious action that could not be further explained to the photographers by acting immediately? Expressions such as "inseparable" and "sudden understanding" cannot be answered by such a description. This method will make us mistakenly think that understanding is some kind of undefinable experience, and forget how we should compare these experiences and judgments. Such an experience.
Therefore, it is as if the certainty that truth and objectivity will be presented in a certain way under the condition of suddenly acquiring a certain unique appearance and special experience, it seems to be based on the fact that we have watched many news reports, documentaries, feature films, etc. Based on the fact that we have learned many true stories and experienced many things, whether or not such experience can produce certainty depends of course on the system we assume, the nature in which we live, and how we live. Then I can be sure that this generalization is correct. Just as I can be sure that I am not Bigelow or the model worker, and Bigelow and the model worker are not the American soldiers who arrested Bin Laden, the viewers will never have peace. Gro and the model workers have the same life style, just as Bigelow and the model workers will certainly not have the same life style as the soldiers on the front lines of the Afghan war . We live in the same world, and we and them can understand The lives of soldiers and agents do not have to rely on the complete overlap or common experience of any experience, but knowledge, environment, and the picture of its further formation. The chain of reason ends here, and the understanding ends here.
The answer to the question of the unique appearance of "objective reality" with the core of female director traits asked before does not exist, and it is also obvious that excessive grammatical inquiry like the previous one has led to the "objective and true" self under feminism. The narration becomes a completely meaningless empty description. "Objective truth" stops at the physiological reduction theory that women should be "delicate and sensitive". It cannot be confirmed or not, but is meaningless. Therefore, the more emphasis is placed on feminism as a fundamental construction and its particularity, Of course, the more it breaks away from the form of life, the more it fits the role of a quintessential observer. From this perspective, the appearance of the picture that only female directors can know cannot be seen by others, and it will be reduced because of its speciality. .
The "objective reality" of feminism that wants to retain privateness loses its feminist privateness. Perhaps we can also say that the true grasp of reality and objectiveness should be the whole, and definitely cannot be separated by elements, and disassembled. The play is pseudo. The documentary form has almost no substantive meaning, and even if there is true feminist "objective reality", it will not belong to a segmented feminist director or a pseudo-documentary element that can be separated, but belongs to the film as a whole As far as the director as a director is concerned, the "objective reality" of feminism is a completely wrong understanding .
But this does not end the language game of images, but it is the beginning.
The natural expression of Bigelow’s intentions does not require "feminist objective truthfulness" and so on that make people enjoy the excessive theoretical interest. Perhaps its natural expression lies in the objective and true display of the arrest of bin Laden behind the Afghan War. Above the delicateness and sensitivity, it is like a cat quietly approaching a canary with painstaking effort . We all know what it is going to do and what will happen next . And this determination is not only an objective and true feminist purport , but to a certain extent, it also represents a national attitude and the reflection of women's thinking about war.
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