Comments and Thoughts on Animation and Film by Harvey Deneroff About This blog is a continuation, in a way, of my old Animation Consultants International website, which ran from through December The site included a series of Commentariesa rather extensive set of Animation Studio Links and, later, a digest of animation-related News on the Web. I did not carry over the News on the Web but did keep up somewhat the Animation Studio Links, but discontinued it at the end May However, I usually like to introduce myself as an adult child of an animator.
It was discovered that CIA and White House officials had met with its filmmakers and passed non-public information to them - at exactly the same time that DOJ officials were in federal court resisting transparency requests from media outlets and activist groups on the ground that it was all classified.
With its release imminent, the film is now garnering a pile of top awards and virtually uniform rave reviews. What makes this so remarkable is that, by most accounts, the film glorifies torture by claiming - falsely - that waterboarding and other forms of coercive interrogation tactics were crucial, even indispensable in finding bin Laden.
Bruni explains [emphasis added]: It's set up as payback. No waterboarding, no Bin Laden: New York Magazine's David Edelstein just named it the best film ofhailing it as "a phenomenal piece of action filmmaking — and an even better piece of nonaction filmmaking.
By showing these excellent results — and by silencing the cries of the innocents held at Abu Ghraib, Bagram, and other 'black sites' — it makes a case for the efficacy of torture. A large Hollywood studio would never dare make a film about the episode which is America's greatest source of collective self-esteem and jingoistic pride without clinging tightly to patriotic orthodoxies.
The events that led to bullets being pumped into Osama bin Laden's skull and his corpse being dumped into the ocean have taken on sacred status in American lore, and Big Hollywood will inevitably validate rather than challenge that mythology.
Moreover, the controversy earlier this year was grounded in the concern that by working so closely with government officials - "considerable cooperation from the CIA and the Defense Department", wrote Bruni - the filmmakers would be captured by their viewpoints and agenda.
And so it is: All of that is just ordinary propaganda and orthodoxy-boostering that, standing alone, would be too commonplace and inevitable to merit much comment. But what makes all of this so remarkable is that the film's glorifying claims about torture are demonstrably, factually false.
That waterboarding and other torture techniques were effective in finding bin Laden is a fabrication. About the film's depiction of torture as helpful in finding bin Laden, Bruni writes with extreme understatement that "that's hardly a universally accepted version of events".
Filkens' reaction - though also weirdly tepid - is much closer to the truth. Here's the crux of this matter [emphasis added]: According to several official sources, including Dianne Feinstein, the head of the Senate Intelligence Committee, the identity of bin Laden's courier, whose trail led the CIA to the hideout in Pakistan, was not discovered through waterboarding.
I wanted a boots-on-the-ground experience. As noted, she is going around praising herself for taking "almost a journalistic approach to film". But when confronted by factual falsehoods she propagates on critical questions, her screenwriting partner resorts to the excuse that "it's a movie, not a documentary.
He made the same claim as "Zero Dark Thirty" regarding the role played by torture in finding bin Laden. An FBI agent central to the bin Laden hunt said the same. What this film does, then, is uncritically presents as fact the highly self-serving, and factually false, claims by the CIA that its torture techniques were crucial in finding bin Laden.
Put another way, it propagandizes the public to favorably view clear war crimes by the US government, based on pure falsehoods.SF State in the News A selection of recent stories about the San Francisco State University community that have appeared in the media.
Note: These summaries link directly to pages published by the media outlets cited. Hungarian director Ferenc Török's latest, an adaptation of a short story by Gabor T. Szanto, is a black-and-white drama set in the immediate postwar period in rural Hungary.
The arrival of two. Filmmakers Names Winners. Hollywood, CA — FilmMakers is pleased to announce the winners of the 1 6 th. Annual Filmmakers International Screenwriting Awards Competition. This Year's Contest attracted a total of scripts worldwide..
THE WINNERS ARE. GRAND PRIZE WINNER. If you've entered any screenwriting contests, please submit a report card and/or comment evaluating your experience. Featured Speakers of previous Big Screen Symposium gatherings. Two intensive days of conversations, workshops, panel discussions and case studies with a stellar line-up of local and international .
In all, Journey’s films have won six Gabriel Awards for the nation’s best film on a topic of religion, three awards at the US International Film and Television Festival, the Sun Valley Film .