☞ The accuracy in the depiction of non-fictional narratives boils down to the crucial similarities between the two narratives. In a similar vein, films that have been converted from another medium, even if the original medium involves moving images, usually involve changes, as the following article, on the life-action feature film version of a televisual animé series, illustrates.
“The bulk of the film takes its plot from the anime’s first two story arcs, with a few sequences lifted directly from the OVA (original video animation) mini-series that chronicled the protagonist’s bloody backstory for good measure.”
“Sadly, fan-favorite characters Saito Hajime (a pitch-perfect Yosuke Eguchi) and Sanosuke get short shrift in their big-screen debuts. In the case of Saito, the former Shinsengumi captain-turned-police officer’s personal history-based storyline with Kenshin is condensed to the point of near irrelevance, his very presence hovering dangerously close to glorified fan service.
This is especially evident during the final battle where, after much build-up, his big moment is so awkwardly edited and executed, I had trouble figuring out what I’d just seen. Fortunately, Sanosuke, despite randomly popping in and out of the plot as necessary, gets several applause-worthy moments.”
Still from Bigelow’s Zero Dark Thirty
“If “Zero Dark Thirty” is a roller-coaster ride, it’s one with blinkers, one that keeps its viewer facing forward and allows no glance away from the action. There’s no ideological context for bin Laden or those suspected of association with Al Qaeda; there’s also no doctrinal, or, for that matter, personal context for the protagonist. Did Maya not have sex for ten years? Did she have no family with whom she communicates, no friends with whom she discusses her work, her obsession with catching bin Laden, her ideas about life in general? What did she put on hold in her pursuit for bin Laden? It’s revealed, near the end of the movie, that she was recruited for the C.I.A. right out of high school; why was she recruited? Why did she accept? The character isn’t just a cipher but a filtered-out cipher, reduced to her function as the chief bin Laden hunter. This is the way that all of the movie’s characters are depicted, and the choice isn’t just a way of keeping the narrative energy juiced; it’s a fundamental matter of aesthetics, an element of an aesthetic ideology that, for all the primal pleasure afforded by the movie, leaves it less than an empty experience—turns it into a deceptive one.”
Read more: “The Deceptive Emptiness of Zero Dark Thirty”
☞ Brody’s view that Zero Dark Thirty‘s aesthetics deceptively blocks its more complete ideological contexts from being realised, reminds one of one’s response to Bigelow’s earlier film, The Hurt Locker .