Author Topic: Ketrin Biglou dobila nagradu Režiserske Gilde  (Read 2883 times)

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Lord Kufer

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Ketrin Biglou dobila nagradu Režiserske Gilde
« on: 31-01-2010, 23:44:00 »
http://www.imdb.com/news/ni1492646/

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Kathryn Bigelow defeats James Cameron and 'Avatar' to win Director's Guild Award




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History was made Saturday night as Kathryn Bigelow became the first woman to win the Director's Guild of America Outstanding Direction of a feature film award for "The Hurt Locker." Bigelow defeated a number of strong nominees including her ex-husband, but now good friend James Cameron ("Avatar"), Quentin Tarantino ("Inglourious Basterds"), Lee Daniels ("Precious") and Jason Reitman ("Up in the Air").  Only twice in the past ten years has a DGA winner not gone on to win the equivalent Academy Award.


Usul

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Re: Ketrin Biglou dobila nagradu Režiserske Gilde
« Reply #1 on: 24-03-2010, 05:35:11 »
Evo sta kaze Zizek o filmu:

http://www.lrb.co.uk/blog/2010/03/23/slavoj-zizek/green-berets-with-a-human-face/

Green Berets with a Human Face
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The victory at the Oscars of Kathryn Bigelow’s The Hurt Locker over James Cameron’s Avatar was generally perceived as a good sign of the state of things in Hollywood: a low-budget, independent film overcomes a superproduction whose technical brilliance cannot cover up the flat simplicity of its story. So Hollywood is not just a blockbuster machine, but still knows how to appreciate marginal creative efforts. Well, maybe. But it’s also the case that, with all its mystifications, Avatar clearly takes the side of those who oppose the global military-industrial complex, while The Hurt Locker presents the US army in a way which is much more finely attuned to its own public image in our time of humanitarian interventions and militaristic pacifism.

The film largely ignores the debate about the US military intervention in Iraq, and instead focuses on the daily ordeals, on and off duty, of ordinary soldiers forced to deal with danger and destruction. In pseudo-documentary style, it tells the story – or rather, a series of vignettes – of an Explosive Ordnance Disposal (EOD) squad. This choice is deeply symptomatic: although soldiers, they do not kill, but risk their lives dismantling terrorist bombs destined to kill civilians – can there be anything more sympathetic to our liberal eyes? Are our armies in the ongoing War on Terror, even when they bomb and destroy, ultimately not just such EOD squads, patiently dismantling terrorist networks in order to make the lives of civilians everywhere safer?

But there is more to the film. The Hurt Locker brought back to Hollywood the trend which also accounts for the success of two recent Israeli films about the 1982 Lebanon war, Ari Folman’s animated documentary Waltz With Bashir and Samuel Maoz’s Lebanon. Lebanon draws on Maoz’s memories of being a young soldier; most of the action claustrophobically takes place inside a tank. The movie follows four inexperienced soldiers dispatched to ‘mop up’ enemies in a Lebanese town that has already been bombarded by the Israeli air force. Interviewed at the 2009 Venice festival, Yoav Donat, one of the actors, said: ‘This is not a movie that makes you think: “I’ve just been to a movie.” This is a movie that makes you feel like you’ve been to war.’ Maoz has said his film is not a condemnation of Israel’s policies, but a personal account of what he went through: ‘The mistake I made is to call the film Lebanon because the Lebanon war is no different in its essence from any other war and for me any attempt to be political would have flattened the film.’ This is ideology at its purest: the focus on the perpetrator’s traumatic experience enables us to obliterate the entire ethico-political background of the conflict.

The Hurt Locker’s depictions of the daily horror and traumatic impact of serving in a war zone seems to put it miles apart from such sentimental celebrations of the US army’s humanitarian role as John Wayne’s infamous Green Berets. However, we should bear in mind that the terse-realistic presentation of the absurdities of war in The Hurt Locker obfuscates and thus makes acceptable the fact that its heroes are doing exactly the same job as the heroes of The Green Berets. In its very invisibility, ideology is here, more than ever: we are there, with our boys, identifying with their fear and anguish instead of questioning what they are doing there.
God created Arrakis to train the faithful.

Meho Krljic

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Re: Ketrin Biglou dobila nagradu Režiserske Gilde
« Reply #2 on: 24-03-2010, 10:26:31 »
Žižek objasnio.

Koga mrzi da čita sve, evo suštinskog dela:

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This is ideology at its purest: the focus on the perpetrator’s traumatic experience enables us to obliterate the entire ethico-political background of the conflict.


Ghoul

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Re: Ketrin Biglou dobila nagradu Režiserske Gilde
« Reply #3 on: 24-03-2010, 10:30:10 »
Evo sta kaze Zizek o filmu:

The Hurt Locker’s depictions of the daily horror and traumatic impact of serving in a war zone seems to put it miles apart from such sentimental celebrations of the US army’s humanitarian role as John Wayne’s infamous Green Berets. However, we should bear in mind that the terse-realistic presentation of the absurdities of war in The Hurt Locker obfuscates and thus makes acceptable the fact that its heroes are doing exactly the same job as the heroes of The Green Berets. In its very invisibility, ideology is here, more than ever: we are there, with our boys, identifying with their fear and anguish instead of questioning what they are doing there.


sve je tačno reko žižek.

naravno, kad sam to isto govorio ja, niko me nije slušao:
http://x.blogspot.com/2009/02/hurt-locker.html

npr.
i to je sve lepo, ali u filmu sa ovom temom (rat u iraku: zapravo, ne toliko rat u smislu frontova i ofanziva, nego rat nerava, nadmudrivanje između domaćeg pokreta otpora i američkog okupatora) neizbežan je politički momenat. prosto, ne možemo se praviti da on ne postoji, ili da je nebitan, iako se film njime ne bavi. štaviše, njegovo odsustvo iz filma je vrlo rečito. niko se ovde ni verbalno ni implicitno ne upita: šta ćemo mi ovde, koja je poenta svega ovoga, imamo li pravo da ovde bilo šta radimo, bilo koga upucavamo, koji ćemo đavo u ovoj pustinji desetinama hiljada kilometara daleko od amerike? ovaj film, kao i većina slično-tematskih američkih proizvoda, PODRAZUMEVA da je američko prisustvo u iraku, i sve što oni tamo rade, najnormalnija stvar na svetu, i pretvaraju se da se 'samo' bave svojim dramama i pripovestima bez primesa politike. sorry, folks, ali ne može to tako.

ovaj film – hteo on to ili ne, nebitno je – duva u istu svirajku sa bušom i klikom, i mada se (vrlo implicitno) mogu videti majušni tragovi 'kritike' militarističkog duha, THE HURT LOCKER je ipak, i pre svega, apoteoza one fraze: 'a man's gotta do what a man's gotta do'.
itd.

a sad, kad žižek prepričava moj rivju, onda je to: WOOOOW!!!


Meho Krljic

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Re: Ketrin Biglou dobila nagradu Režiserske Gilde
« Reply #4 on: 24-03-2010, 10:31:22 »
Ja sam ti više puta pružio podršku za tvoje opservacije!!!

дејан

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Re: Ketrin Biglou dobila nagradu Režiserske Gilde
« Reply #5 on: 24-03-2010, 10:51:36 »
Ja sam ti više puta pružio podršku za tvoje opservacije!!!
jednom sam i ja to uradio
...barcode never lies
FLA

Usul

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Re: Ketrin Biglou dobila nagradu Režiserske Gilde
« Reply #6 on: 24-03-2010, 13:25:05 »
Ja nit sam kritikovao nit sam hvalio tvoj review filma jer sam film jos nisam ni pogledao. Samo sam preneo tekst za clanove foruma.
God created Arrakis to train the faithful.

Ghoul

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Re: Ketrin Biglou dobila nagradu Režiserske Gilde
« Reply #7 on: 24-03-2010, 13:32:13 »
Samo sam preneo tekst za clanove foruma.

...na čemu ti se u svoje ime toplo zahvaljujem! :)

Will-O'-The-Wisp

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Re: Ketrin Biglou dobila nagradu Režiserske Gilde
« Reply #8 on: 24-03-2010, 14:06:13 »
Tekst je dobar, prije svega u kontekstu Žižekove teorije ideologije. Međutim, Ketrin nikada nije operisala u domenu politike, već u političkog, što je velika razlika. Ako se film posmatra kao takav, zaključak je dijametralno suprotan od Žižekovog.
 
"A life, Jimmy, you know what that is? It's the shit that happens while you're waiting for moments that never come."
– Lester Freamon (The Wire)

Ghoul

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Re: Ketrin Biglou dobila nagradu Režiserske Gilde
« Reply #9 on: 24-03-2010, 14:27:33 »
Međutim, Ketrin nikada nije operisala u domenu politike, već u političkog, što je velika razlika.

care to enlighten us, poor laymen?
ili ćeš te revelacije da sačuvaš exkluzivno za FILAŽ?
(nadam se da već završavaš taj text?)

scallop

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Re: Ketrin Biglou dobila nagradu Režiserske Gilde
« Reply #10 on: 24-03-2010, 15:18:32 »
Usulov post se poklapa sa Ghoulovim i u skladu je sa poznavanjem mentaliteta u SAD. Cilja se na emocije masovnog gledališta, pripremljenog na razumevanje svojih nevolja u svetu. Niko tamo ne razume zašto ih u Iraku ili gde drugde ne vole kad im oni uvode demokratiju. To kao kod Makavejeva "Zašto da ne piju Coca Colu kad je mi tako volimo?" Onda čovek digne sve u vazduh, jer mu ne daju da proizvodi Vitasok!
Never argue with stupid people, they will drag you down to their level and then beat you with experience. - Mark Twain.

Will-O'-The-Wisp

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Re: Ketrin Biglou dobila nagradu Režiserske Gilde
« Reply #11 on: 24-03-2010, 15:19:36 »
Biče sve u "Filažetu". Privodim polako kraju, a onda malo da sredim moje mudroseranje.

Dedlajn je večeras et midnajt?
"A life, Jimmy, you know what that is? It's the shit that happens while you're waiting for moments that never come."
– Lester Freamon (The Wire)

Ghoul

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Re: Ketrin Biglou dobila nagradu Režiserske Gilde
« Reply #12 on: 12-09-2015, 02:25:24 »
oduvek sam tvrdio: bigelow is CIA's bitch - a sad je to i potvrđeno:

The CIA’s insidious Hollywood propaganda: New report highlights alarming details about “Zero Dark Thirty”

The award-winning film depicting the death of Osama bin Laden was guided more by the government than we thought


http://www.salon.com/2015/09/11/the_cias_insidious_hollywood_propaganda_new_report_highlights_alarming_details_about_zero_dark_thirty/