Word: docudrama
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Dates: during 2000-2009
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...grosses don't explain why United 93, Paul Greengrass' meticulous, creepy and critically acclaimed 9/11 docudrama, failed to nab a slot. It pulled in a respectful $31.5 million here, $44.1 million abroad. I'd say that United 93 was snubbed for two reasons: because a lot of people were reluctant, perhaps afraid, to relive 9/11, and because, for the Academy, all Oscar politics is local. Crash proved that last year. It was the ultimate L.A. movie - a drama about car violence on the interracial highway - while United 93 is the ultimate New York movie. Its shot of a passenger...
...fanfare that accompanied the fifth anniversary of the Sept. 11, 2001 terrorist attacks was either shocking or repetitive, with the media recounting a star-spangled history of the last five years while intermittently seething over ABC’s factually deficient pre-9/11 “docudrama.” The art that accompanied this observance mostly allowed Americans to relive the event without forcing them to do any meaningful self-reflection...
Sunday night, on the eve of the fifth 9/11 anniversary, docudrama was dynamite in North America. As millions in the U.S. watched the Clinton Administration botch snuffing out al-Qaeda on the first of ABC TV's two-part miniseries The Path to 9/11, hundreds of Canadians crowded into a Paramount multiplex theater to see the Toronto International Film Festival's world premiere of Death of a President, a sober fakeumentary from Britain's Channel 4 that imagines the assassination of the current President Bush in Chicago on Oct. 19, 2007, and depicts it in footage so persuasive that some...
Still, saying that 9/11 has entered pop culture is not the same thing as saying that 9/11 has changed pop culture. The disaster movie, the docudrama, the inspirational war story--those are not exactly innovations. There were predictions just after the attacks that pop culture would become more patriotic or more nostalgic or more introspective. Instead, it has just become more of what it was before--violent, irreverent, licentious and so on. 24 is a great show, but you can trace its ice-blooded do-what-you-gotta-do-ism back to Dirty Harry, not Donald Rumsfeld. It's hard...
...question that for Mann, and the genre, the docudrama approach was mostly an excuse to show lowlifes in low lighting. And if Higgins supplied the craft of Mann's noir films, cinematographer John Alton surely served up the art. Before hooking up with Mann, Alton had a nomad's r?sum?: born in Hungary, an assistant in Hollywood silent films, shooting pictures in Argentina in the '30s, then B and C movies back in America. The two men clicked as collaborators, sparking with extreme visual tropes, each instantly elevating the other's work. "I found a director in Tony Mann...