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Black hawk down film analysis
Black hawk down film analysis
Black hawk down film analysis
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Man Down
Repelling down from a hovering Black Hawk helicopter, running through the streets in a foreign city, bullets hissing past your ears, bombs are exploding all around you, debris flying in all directions, and you have a job to do. In Black Hawk Down, director Ridley Scott mixes a wide variety of camera movement, camera angles, film speed, tone, and music to throw the audience into the thick of the fighting in Mogadishu, Somalia. Scott places the viewer into the boots of Delta Force members, ARMY Rangers, and many other military positions allowing you to experience the nightmare these soldiers are going through. William Arnold stated "Black Hawk Down is a terrific trip' movie that like Private Ryan plops us right in the middle of a harrowing combat situation, and forces us to experience' it for ourselves, as if we were one of the jangled participants" (par. 11). In the opening scene, "The Start," composer Hans Zimmer uses an ethnic style of music that relates to the African setting and causes a sense of uneasiness in the audience. The uneasy feeling is taken a step further with the blue color tone which creates a gloomy depressing mood. The camera pans over a man mourning a lifeless body then fades to a black screen, allowing the audience to realize the severity of the situation. The camera's shallow focus on the many people dying from starvation shows how Mohamed Farrah Aidid is affecting the people of Mogadishu, thus, causing a greater output of sympathy from the viewer.
The off screen sound of a helicopter means that the American military has come to help apprehend Aidid and restore peace in Somalia. Once the helicopter appears onscreen, the tempo of the music picks up and becomes similar to the James Bond ...
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Works Cited
Arnold, William. "Riveting 'Black Hawk Down' avoids war cliches, but loses its characters in the crossfire." 18 January 2002. SEATTLE POST-INTELLIGENCER. .
Black Hawk Down. Dir. Ridley Scoot. Revolution Studios and Jerry Bruckheimer Films, 2001.
"Black Hawk Down." Newsweek 24 December 2001 : p42, 1/3p.
Chabot, George. "Black Hawk Down: No One Gets Left Behind." Epinions.com. 19 January 2002. < http://www.epinions.com/content_53396999812>.
Coatney, Lou. "Black Hawk Down." American Historical Review October 2002 : 1338.
Doherty, Tom. "The New War Movies As Moral Rearmament: Black Hawk Down & We Were Soldiers." Cineaste Summer 2002 : p4, 5p, 9bw. Academic Search Premier EBSCOhost. Mississippi College Lib., Clinton, MS. 24 February 2006 .
Matray, James I. "Black Hawk Down." Journal of American History 89.3 (2002) : 1176 - 1177.
It is apparent that the topic of war is difficult to discuss among active duty soldiers and civilians. Often times, citizens are unable to understand the mental, physical, and physiological burden service members experience. In Phil Klay’s Ten Kliks South, the narrator struggles to cope with the idea that his artillery team has killed enemy forces. In the early stages of the story, the narrator is clearly confused. He understands that he did his part in firing off the artillery rounds, yet he cannot admit to killing the opposition. In order to suppress his guilt and uncertainty, our narrator searches for guidance and reassurance of his actions. He meets with an old gunnery sergeant and during their conversation, our narrator’s innocence
The sound used in this scene are all diegetic, the sounds of gunfire and explosions show that the characters in this scene are in very real danger of being shot or blown up, this helps the viewer develop a more personal connection with the characters since the scene is towards the end of the film, the viewer has developed a personal connection with the characters and do not want them to die. The diegetic sounds of military personnel can be heard, this is used to show the urgency that the military personnel have to get The Sapphires and Dave out of the dangerous situation. This scene is used to emphasise the danger that Dave and The Sapphires are in very real and very lethal danger, the mixture of sinister camera angles to emphasise the visual danger that the characters are in to the inhospitable sounds portrayed by the scene to highlight the explosive danger that the characters are in. The lighting used features the darkness and the difficulty to see due to the night sky.
O’Brien, Tim. “How To Tell a True War Story.” The Compact Bedford Introduction to Literature. Ed. Michael Meyer. Boston: Bedford St. Martins, 2003. p. 420-429.
Units get ambushed by North Vietnamese Army forces, who kill the commanding officers. After defeat, the Vietcong commander orders final attack using the rest of his soldiers and reserve forces. Hal Moore seeing it coming, prepares for this fight. In the last scene, Lt. Moore kept his promise, being he was the last person to step onto the helicopter.
King, Rosemary. "O'Brien's 'How to Tell a True War Story.'" The Explicator. 57.3 (1999): 182. Expanded Academic ASAP.
In A Tactical Ethic, Moral Conduct in the Insurgent Battlespace, author Dick Couch addresses what he believes to be an underlying problem, most typical of small units, of wanton ethical and moral behavior partly stemming from the negative “ethical climate and moral culture” of today’s America (Couch, D., 2010, p. 15). In chapter one, he reveals what A Tactical Ethic will hope to accomplish; that is identify the current ethics of today’s military warriors, highlight what is lacking, and make suggestions about what can be done to make better the ethical behavior of those on the battlefield and in garrison. He touches on some historic anecdotes to highlight the need for high ethics amongst today’s military warriors as well as briefly mentions
Even though the films “Battleship Potemkin”, “From Here to Eternity” and “Saving Private Ryan” are all movies based on military life during war time the variation in time periods and culture made each film very different. These differences did not take away from the impact the films had on their audiences at the time or the messages they were each trying to covey. The Horrific images and hear wrenching scenarios helped to evoke strong emotions and patriotic feeling from audiences allowing film makers to pass along their truths. Thru these films we are magically transported to several dark periods in the world history and left to experience the pain, fear, isolation and ultimately the triumph of these soldiers’ lives.
Vitale, Tom. “Kurt Vonnegut: Still Speaking To The War Weary.” www.npr.org. May 31, 2011. Web. 14 Nov. 2013.
Known today as two of the most prominent American satirists, Joseph Heller and Kurt Vonnegut both served time as soldiers during World War II, Heller serving as a bombardier in Italy (Scoggins) and Vonnegut as a soldier and prisoner of war in Germany (Parr). Not coincidentally, both Heller’s 1961 novel Catch-22 and Vonnegut’s 1969 novel Slaughterhouse-Five, or The Children’s Crusade: A Duty-Dance with Death follow the journeys of young men in combat during the Second World War – Captain John Yossarian of the US Army Air Forces and soldier Billy Pilgrim, respectively. While it is evident that these fictional novels are both set during the World War II era and convey bleak images of war, closer inspection of both texts brings to light the common
King, Rosemary. "O'Brien's 'How to Tell a True War Story.'" The Explicator. 57.3 (1999): 182. Expanded Academic ASAP.
A true war story is never moral. It does not instruct, nor encourage virtue, nor suggest models of proper human behavior, nor restrain ...
In Hedges' first chapter of the book titled, "The Myth of War," he talks about how the press often shows and romanticizes certain aspects of war. In war there is a mythic reality and a sensory reality. In sensory reality, we see events for what they are. In mythic reality, we see defeats as "signposts on the road to ultimate victory" (21), Chris Hedges brings up an intriguing point that the war we are most used to seeing and hearing about (mythic war )is a war completely different than the war the soldiers and journalists experience ( sensory war), a war that hides nothing. He states, "The myth of war is essential to justify the horrible sacrifices required in war, the destruction and death of innocents. It can be formed only by denying the reality of war, by turning the lies, the manipulation, the inhumanness of war into the heroic ideal" (26). Chris Hedges tries to get the point across that in war nothing is as it seems. Through his own experiences we are a...
Enhancing the sustained fright of this film are an excellent cast, from which the director coaxes extraordinary performances, and Bernard Herrmann's chilling score. Especially effective is the composer's so-called "murder music," high-pitched screeching sounds that flash across the viewer's consciousness as quickly as the killer's deadly knife. Bernard Herrmann achieved this effect by having a group of violinists frantically saw the same notes over and over again.
Morrison Taw, Jennifer. Operation Just Cause-Lessons for Operations Other Than War. Santa Monica Ca., Nov 14, 1996
Art of war. Dir. David Baeumler. Perf. Richard A. Gabriel. A & E Television Network, 2009. DVD.