Fahrenheit 911: The Boundary of Right and Wrong

Eulalia 2022-06-14 23:33:11

The borderline documentary of right and wrong takes the pursuit of authenticity as the highest pursuit, and under the common pursuit of documentary and artistry, the director of "Fahrenheit 911" actually imagined it according to his subjective guess, creating a sense of historical reality. Creators use provocative tactics, grouping incomplete data and trying to push a one-sided point of view. So-called history is the narration of those who have experienced it, and one of the characteristics of history is that it can be criticized. After setting the position in advance, the director asked guided questions using oral history interviews.

The "911" incident, which disappeared into the dust of history, was endowed with a mysterious color under the director's interpretation. Clever introductory questions not only make the narration lively and interesting but also show the director's position extremely efficiently. In the interview, leading questions speed up the presentation of the plot and the efficiency of the narrative and use the interviewee to express the creator's intention and position. All questions are to serve the director's subjective position. The film cleverly uses a large number of material collages and guided questions, but what serves the overall framework of the film is the director's pre-set position. The preset position plays a role in maintaining the main line of content and structure in this film.

The director is creating this film with strong emotions, and his emotions and positions are unified. After the pre-set position, the logical clues held by the film and the content presented directly serve the pre-set position, which has a very positive effect on the improvement of the expression and communication efficiency of video works. The expression of the preset position makes the structure of the film clearer and clearer. The preset position is like a beacon light in the night, which makes the narrative of the whole film more efficient. The director skillfully relies on the interview method of oral history to construct the narrative of the film.

Through the direct narration of the event parties and the sound restoration of the events that have already happened, the authenticity of the documentary is enhanced, and the audience feels an immersive experience at the same time. The oral expressions of the interviewees are more lifelike, the content expressed is easier for the audience to accept, and the narrations of many interviewees are the analysis of events from multiple perspectives. Due to the differences in the identity of the interviewee, the cut-in time, and the angle of treating objective things, it can provide the audience with more complex and rich information.

With a critical spirit, the director constantly questioned the existing facts and opinions in the process of creation and investigation and tried to show a different 9/11 incident through the presentation of multiple arguments. The core of the film is a satire of Bush's ruling clique. The director uses the documentary as a tool to express his demands, showing strong political enthusiasm and fighting spirit. The creators have a stubborn and endless pursuit of "facts" and "truths", although such "facts" and "truths" are only what the director selectively presents.

View more about Fahrenheit 9/11 reviews

Extended Reading

Fahrenheit 9/11 quotes

  • Iraqi Man: [after expressing anguish that it was a small child instead of himself that had to die] Those that don't fear death don't die.

  • Young African American male in Michigan: And I was watchin' TV one day, 'and they're showin' like some of the buildings and areas that had been hit by bombs and things like that, and while I watchin' I got to thinkin' like', "There's parts of Flint that look like that, and we ain't been in a war."