Showing posts with label movies. Show all posts
Showing posts with label movies. Show all posts

Sunday, January 13, 2013

Ender's Game, Army Crack and The Game That Became Real

The $67 billion video game industry now generates more than twice as much as the Hollywood's box office. In fact, video games are inspiring Hollywood movies rather than the other way around. Good news for the gaming industry, bad news for our future as human beings. Why? Well, simply put, the "Playstation mentality" in modern warfare. In an age where almost anyone can be taught to use a joystick and fly unmanned aircraft capable of taking out large groups of people using remote control, being raised on video games like "Call of Duty" or "Halo" are literally training and desensitizing these children to the blood and guts-- a trophy in "Call of Duty: Black Ops: Declassified," requiring the player to earn 3 stars in each Operation--of warfare.

Take the futuristic tale, Ender's Game, a "science fiction" novel by Orson Scott Card, where government agencies breed child geniuses and train them as soldiers in an artificial or virtual community of young boys, aged 5-12-years old. The ultimate agenda is to create military leaders, some might even say genocidal dictator superheroes, albeit, with "good" intentions, who will, one day,  save the Earth from an alien enemy.  The problem with this sci-fi novel is that the ultimate sacrifice is made: all the qualities that make us human, and separate us from not only animals, but machines. Unfortunately, this book is not unique. The negation or degradation of that which makes us human is a theme that permeates pop culture today.

Remember, it is said that the most dangerous "soldiers" are child soldiers, more specifically, 6-year old boys with guns. Why? Guns are toys to 6-year old boys, and "killing" people is fun because they have not yet grasped the finality of death. So immersing them into a virtual reality of "kill or be killed" will almost certainly prepare them for the military, making it much easier to condition these young men to kill, especially when situated 7,000 miles away, in what appears more like a theater of war, where the victims are reduced to the status of players in a video game, shielded from the dismembered body parts in the aftermath of strikes, rather than plunged into the blood and guts warfare of the front line.

In a nutshell, movies, books, television, and most disturbingly of all, violent video games, condition concepts of profit, status, technology/technological development, violence, and/or anything that defines our materialistic, scientific world trumps humanity every time.

Army crack

"You don't have to be a qualified fighter jet pilot anymore to be allowed to fly these things - or an officer. Thousands of young enlisted soldiers - many as young as 18 - are being trained to fly these aerial vehicles and the US military just can't get enough of them.

"Is it a bit like playing a video game?" I asked as I handled the joystick. It is they admitted - although everyone was at pains to stress that doesn't mean they don't take their job seriously.

Even the trainer admitted its easier to teach the "video game generation" and told me that all those hours they'd spent in their bedrooms - being nagged by their mothers to do something more productive - was now paying off.
"Is it a bit like playing a video game?"
The US military are now so addicted to the use of these drones they call them "army crack". One hit and you are hooked they say. Ground forces now don't want to leave their bases in Iraq and Afghanistan without those "eyes in the sky" above their heads.
So is "Ender's Game" really science-fiction? Maybe when it was written, but certainly not now. The book’s premise—that training children for war through  playing video games —has left the realm of science fiction and has,  in fact,  become a reality.

Links:

“Zero Dark Thirty” And The CIA's Hollywood Coup

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Sunday, December 16, 2012

Aurora, Sandy Hook and The Dark Knight Rises

Update  12/18/12:

George Freund at Conspiracy Cafe discovered that there are 28 marks on the map. One for each victim? Another coincidence, I'm sure.

From Gotham City Archives

"WORSE STILL: There were 6 adult staff murdered. There are SIX squares to the left of Strike Zone 4. There were 20 children murdered. Twelve were girls. Eight were boys. There are 7 circles around Strike Zone 4 and five to the right of Strike Zone 3. That makes 12 girls. The other circles are dotted lines. There are EIGHT one for each boy. Strike Zone 1 would be the Lanza home. There is a red circle around a blue square. The Lanza home was blue. Nancy was killed there. To the left of Strike Zone 1 is a square with a dotted line around it for Adam. It is the EXACT death toll and combination. THIS IS MORE THAN EERIE! - George Freund



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"Key image" in The Dark Knight Rises Viral Package Credit: Warner Bros.
The following excerpt is from an article taken from the blog, Alternate Takes.  It was published on July 25, 2012, obviously well in advance of the tragic shooting  at Sandy Hook Elementary School that occurred in Connecticut on Friday.  
"The key image in Christopher Nolan’s The Dark Knight Rises is not the tattered American flags or the exploding football field. It’s an image that circulated in viral marketing months before the film’s release - Bane’s ‘strike zones’, circled on a map of Gotham City  [notice Sandy Hook in the picture of the map above]. The package, sent out to key websites in December 2011, reappeared in The Dark Knight Rises, as Detective John Blake studied it for clues. ‘I don’t know anything about civil engineering,’ he protests. Jim Gordon reassures him. ‘But you know about patterns.’

The Dark Knight Rises - the entire Dark Knight trilogy - is about patterns. It’s about networks. It’s about matrices, links, dialogues, nodes on a map. It’s about echoes between those terms, and the way those terms define themselves in relation to each other, and can shift, and change places. It’s not just as a comment on capitalism that Bane’s men raid a stock exchange, and Bruce ponders the trades they were making.

Just as Batman Begins (2005) suggested that Scarecrow’s use of fear as a weapon was no different from Batman’s, and The Dark Knight (2008) ramped up the stakes by asking what, if anything, separated Batman’s counter-terror measures from Joker’s terror, so The Dark Knight Rises is about the fragility of definitions, the limits of structures, the illusion of binary oppositions."
Screen shot from Dark Knight Rises
What's more, 1 hour 58 minutes and  41 seconds into "Dark Knight Rises" the "Sandy Hook" map (left) appears. As the character, Gordon points to the words, "Sandy Hook", he says, "figure out how to bring it down." It's very clear in the Blue-Ray version.

And one more coincidence.  In the beginning of the movie, as the camera pans across the Shangai skyline, the  Aurora (Aurora movie theater shooting) logo appears on top of the Aurora Plaza, which is a 185 m high skyscraper in the Pudong financial district of Shanghai, China.

I'm sure most will dismiss  these events as chance occurrences, and maybe they are, but you have to admit, it's a little strange.

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Tuesday, July 31, 2012

The DOD/CIA Role in Hollywood is Larger than Most Think.

In this extraction from Press TV's The Real Deal, George Galloway interviews Matthew Alfred who is a film and TV lecturer at the University of Bristol. They discuss the role CIA and the US Defence Department in Hollywood. Mr. Alfred is currently making a new film, entitled, "The Writer With No Hands" about the disappearance, in the late 1990s, of 55-year old Hollywood screenwriter, Gary DeVore, who, along with being best man at Tommy Lee Jone's wedding, worked on major projects with stars such as Kurt Russell, Christopher Walken and Arnold Schwarzenegger.



Links:

Hollywood Hitmen

As he drove through the small hours of the Californian night, Gary Devore insisted to his wife Wendy: “I’m pumping pure adrenaline.”

“This was not a normal phone call… I felt he was warning me,” Wendy later recalled. “I love you,” she had said, expectantly.

“See you later,” Gary mumbled. It was the last time Wendy Oates-Devore would ever speak to her husband, the 55-year-old Hollywood screenwriter who’d worked on major projects with stars such as Kurt Russell, Christopher Walken and Arnold Schwarzenegger. He had vanished. Swallowed, it seemed, by the desert highway.

Gary had been returning from actress friend Marsha Mason’s New Mexico residence where he had just finished a screenplay he’d told his wife would be the hardest-hitting piece of film Hollywood had ever seen. A year later, in the summer of 1998, his car was located by a police dive team in a shallow aqueduct following a tip-off from an ‘amateur sleuth’. Inside the vehicle, belted into the front seat and dressed in Gary’s cowboy clothing, sat a skeletal corpse.

The Californian Highway Patrol wrote a 158-page report declaring it an accid­ent: case closed. And that was that… except for the fact that many of those who knew Gary Devore remain convinced that the official investigation was a whitewash, that Gary was murdered, and that the US government itself has been trying to wipe clean its fingerprints from the case.

Gary’s script, a remake of the 1949 heist movie The Big Steal, was to be an action thriller set against the backdrop of the 1989 United States invasion of Panama and the overthrow of its dictator, former CIA asset Manuel Noriega. It was to be Gary’s direct­orial debut and expect­ations were high. Gary was being assisted in his research by his old friend Charles ‘Chase’ Brandon, veteran CIA case officer, first cousin to Tommy Lee Jones; also the Agency’s new public face in Hollywood and – according to Gary’s publicist Michael Sands – “the real Jack Bauer”, referring to the fictional super-agent of the television show 24.

However, the screenplay was acutely critical of US foreign policy, presenting a picture of a country ravaged by the US military and in which US Army intelli­gence organises the theft of Noriega’s drug money. An early draft obtained by the authors gives its main characters lines like: “Shit, we’re really kicking the crap outta this little bitty country to get one man [Noriega]. It’s embarrassing.”, “Starting a war you can’t lose is good for morale.”, and “a little scrimmage to make the varsity look good”.

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Wednesday, July 25, 2012

Aurora Batman Movie Massacre: Behind the Curtain.

Scott Creighton who writes the blog: American Everyman does an excellent job examining all of the details and components of the Aurora Batman movie shooting. One thing is for certain: we're not getting anything even close to the truth.

A few sample posts from Creighton's blog:

Aurora Massacre: Stick Figures!? You’ve Gotta be F*cking Kidding Me

"While ABC “news’ is trying to spin up a new “psycho-killer” narrative and the “crazed spitter” explanation for why they keep James Holmes gagged (they don’t want one of these “I’m just a patsy” moments), the officials making this case up as they go along have gone completely crazy. And I mean completely f*in out of their minds, puppets on their hands, Batman-shit crazy.

This propaganda campaign to try James Holmes in the court of public opinion seems like it’s being run by drugged-up desperate half-wit pre-schoolers and I think this time, they may have just screwed up way beyond reproach...
Aurora Massacre: James Holmes Mugshot Taken Same Day of his Court Appearance?
"When someone is taken into custody and booked by the Sheriff’s office or city police departments, they are typically fingerprinted and photographed BEFORE they are processed into the system. During that processing they are stripped and put in prisoner’s clothing, usually an orange jump suit which they wear for the duration of their stay (unless they are in the “turtle suit”). That means when they are photographed for their mugshot, they are still in whatever clothing they were wearing when they were arrested. If you need proof of this, just go to your local convenience store and glance at one of those horrid little books on the counter showing who got arrested in your community. You will notice what they are wearing...
Aurora Massacre: “Is that the dude in the white car nearby?”
"James Holmes was NOT arrested coming out of Theater 9

Listening to the audio of the police communications this morning I found something very interesting… they did not arrest Holmes coming out of the back of the theater. He was found in the car. We also now know he was drugged. These developments support my original conclusion.

It would appear from the transcripts of the police communications that they saw Holmes in the car, looked in and saw the weapons, and broke the window to gain access to him.

After a police officer reports that someone needs to check out the report of a guy in the back parking lot wearing a gas mask, immediately another officer asks “Is that the dude in the white car nearby?“

The recording is here. Scroll to the bottom to find the video. I will try to post it. The following transcript starts at the 2:40 mark.
cop 1 – “I need a marked car behind the theater, Sable side, suspect in a gas mask”

dispatch – “we need cars south side. suspect in a gas mask”

cop 2 – “Is that the dude in the white car nearby?“
...
Boycott the Batman: Excellent Review of “Rises” from the eXiled
"Eileen Jones over at The eXiled has done an outstanding review of Dark Knight Rises (The Dark Knight Rises VS the 99%)and I have to say, it’s even worse than I originally thought (The Dark Knight Trilogy Turns on Us). H/T to David Snell for sending me a link to this…
… First the Nolans pulled a lot of rhetoric straight from the Occupy movement and put it in the mouth of Bane (Tom Hardy), the masked, muscled-out gargoyle with the silly voice who’s the villain of the piece. Bane’s up on the steps of City Hall or wherever, exhorting the people to rise up and take back control of their city from the Wall Street thieves and billionaire bloodsuckers. But during this oration, Nolan never cuts to reaction shots of the crowd—he’s pulling the old camera trick of making us, the audience, the “mob.”

Take that, you 99%-ers, you mob-waiting-to-happen, you incipient villains! Let this be a warning to you not to listen to any charismatic rhetoric about your rights as citizens!…” Eileen Jones
As Jones also points out, even the supporters, the characterless apologists for the current status quo, have to acknowledge who this ham-handed Nolan propaganda serves…
I would argue that Nolan is mostly being provocative with this tale of underclass resentment, of an uprising by the lower half of the 99 percent that is turned to evil purposes. If so, it works. In its tremendous, almost apocalyptic action sequences, “The Dark Knight Rises” suggests a reverse-engineered version of a Soviet-era revolutionary epic, in which the masses are the villains and their onetime overlords the heroes.” Andrew O’Hehir of Salon
Aurora Massacre: More Questions
"Why is James Holmes such a bad actor? At the end of this article, see screenshots taken from live hearing of James Holmes trying to act crazy, remorseful, and or drugged… if I am right and he is acting (which I think he clearly is) that opens up a whole new can of worms…

AR-15 not shown with “100 round drum clip”? – In the crime scene photo, the AR-15 found right next to the exit door is not equipped with a 100 round drum clip as has been described by various members of the press...
Aurora Massacre: What Does the Location of the Gas Mask Tell Us? What About Security Cameras? Are They Related?
UPDATE: I just found out that the judge in this case has sealed the case because disclosure of the facts would be “contrary to public interests” and that the request to do that was made on Friday just hours after the event.
"The motion, filed in Arapahoe County court, asks for the records in the case to be sealed, including search warrants, affidavits, orders and the “case file.”

The District Attorney’s affidavit says prosecutors are investigating first-degree murder charges against Holmes, but that disclosure of the court records would be “contrary to public interest” and “could jeopardize the ongoing investigation.” The Daily...

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Friday, November 27, 2009

Hollywood Studios Slash Wholesale Prices on DVDs.

Update: Shoppers, just in time for Christmas, big big savings on DVDs are coming your way. You can thank RedBox for commoditizing the movie business. In case you live under a rock, RedBox is a company that has about 22,000 red box movie dispensers all over America in supermarkets, retail stores, pharmacies, etc., where you can rent a movie for $1.

So, why does this translate into big savings on DVDs? Well, the studios are desperate to make up for this shortfall in the sales of DVDs so they are cutting whole-sale prices. That includes Blu-ray discs and players. Wal-Mart and Target are offering Blu-ray DVDs for as low as $8.99 and Blu-ray players as low as $79.99.

Gone are the huge profits of years past, and the revenue streams Hollywood has traditionally experienced, as the DVD sales continue to decline by double digits annually, flat box office returns for the last decade, and an international market that's drying up. In addition, steep competition continues to grow with 500 cable channels, countless videogames, free online video content galore. And then there is the exploding array of options to deliver movie content and the inevitable marriage of your TV to your computer screen/Internet, if not already hitched. Yes, it's clear that Hollywood isn't the only kid on the block anymore.

Disney CEO Bob Iger said, this past weekend, at a conference on the USC campus: "[The] business model that formed the motion picture business...is changing profoundly before our eyes."

In other words, if Hollywood doesn't find a new business model that reflects the current push toward digital distribution technologies available today, as well as keeping an eye to what's right around the corner, and embrace, rather than try to displace the generation of consumers who are used to getting their content for free, Hollywood may become a squally hood.

Mark Gill, Founder and CEO, The Film Department, an independent film financing company, and formerly president of Miramax LA, which has recently gone from 500 workers down to 20, says independent film studios have been hit hard and by the end of next year, the number of movies released in theaters will be cut in half.

In addition, Hollywood will have to cut overhead costs, marketing costs, picture production costs, and the biggest one of all, talent costs.

"Meaning, if you're a big movie star, if you're a top filmmaker, you used to get a big, nice back-end of the movie -- you got part of the profits. By in large, the studios are cutting back on all of that. They're saying, 'you share in the risks with us; you don't get first-dollar gross, you don't get a share of the profits right away; you have to wait till we break even with all our expenses; and then, if the movie is still successful you can share in the profits." -- Patrick Goldstein, columnist and blogger for the "Los Angeles Times"
The quality of studio movies will surely suffer, as the emphasis will shift away from creative content to marketing because marketers, who know more about creating brands that can live across multiple platforms, than what goes into making a good movie will increasingly take over the movie studios.

However, chasing the almighty dollar, by focusing on marketing rather than producing a good movie will backfire on them, as the Internet enables all of us to tap into trusted communities who are more than willing to share what they think is good and not so good. In addition, there is more, and a greater diversity of content being produced than ever before. This wealth of creative talent is able to both produce and distribute content without going through a centralized system, therefore, not bound restrictive marketing forces and to traditional marketing campaigns that try to sell consumers on what is good.
"Not every idea has to start at the widest reach platform. It used to be that when writers would develop an idea, the initial target was TV or film. What’s starting to evolve is that writers are approaching smaller platforms where there is not as much available audience - like publishing or digital - but where they’re allowed to express their creation in a more undiluted manner…one that reaches the market quicker where they can show what they want to do, and then try to leverage some degree of early traction and success in smaller platforms to bring to larger platforms like TV or film."
Hollywood used to be driven by technological change whether it was the invention of sound, color, television, or even new audio formats. But then things changed... around the time of home video, that Hollywood started to lose their mojo. They tried to maintain and protect old business models that were starting to deteriorate, and they chose to take a heavy-handed approach, imposing their ideas of what's "good" - more like what would make them the most money - on the consumer, and started making movies that were marketable vs movies that were enjoyable or good. The exponential growth in technology that has occurred and will continue is forcing Hollywood to adjust or go bust.

Links:

Hollywood's Sales Floor How independent film is faring in a tough economy. The annual American Film Market is the less glamorous side of the movie industry.

TVersity is a free program you can download from tversity.com. It works by installing a media server on your PC that allows you to manage your internet and home media on a multitude of devices, beaming the media to your device. Not only that it goes through all the necessary format conversions automatically enabling transmission of your media to every known set-top device supported by *DLNA. It's also supported by Universal Plug and Play (UPP), so you don't have to figure out all the various networks, ports, etc.

*Digital Living Network Alliance (DLNA) - is a global collaboration of 245 of your most trusted brands, all working together to help you create the home entertainment environment you’ve always imagined.

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Sunday, November 22, 2009

Actor: Job Description: Responsible to Humanity?

Actors get a bad rap, as many people tend to confuse actors with movie stars and celebrity. While it is true many great actors, such as Robert De Niro, Sean Penn, Philip Seymour Hoffman, Al Pacino, Marlon Brando, Johnny Depp etc. are celebrities, it is not because they sought out the spotlight, praise, and public approval; instead, celebrity hunted them down because of their great talent and ability.

Entertaining and acting, by nature, are oxymoronic. An entertainer's goal is to please the people, whereas, a good actor must strip himself of his desire to please in order to make the character he is creating, authentic. It requires hard work, the kind most of us, are not willing to do.

We, as non-actors can choose to skim the surface of life, distracting ourselves from what we do not want to confront, and that is ourselves...our real selves, not the selves we've masked in order to avoid the pain and suffering that the process of unmasking would unleash. Good actors, not entertainers, on the other hand, must explore, reflect upon, and expose the most vulnerable parts of himself and that of humanity, continuously, in order to get to the "truth" of the "human being" they try to bring to life.

Recently, Tavis Smiley honored Sean Penn for his embrace of humanity and asked him where his willingness "to stand in [his] truth, to raise these issues, to not bite [his] tongue, to embrace humanity" came from.

Penn gave most of the credit to acting.

"I think that it relates to acting, in a way. And I appreciate you saying it, but to the degree it's true with me. I think that the demand inside, if there's a final demand, it's to feel your own life while you're living it, and that's the demand of what you have to be searching for in a character also, when you're playing a character. And so it's all one thing to me because it all was based on that, and so when you're not involved in the world, you're not involved in the movie. When you're not involved -- I get very bored guarding myself from feeling the world around me, and so I do find myself drawn to participate."
The actor's primary job description can be summed up as "responsible to humanity", according to Herbert Berghoff. Actors must create a "human being" from scratch and communicate the truth of that "human being" or character to the world. A good actor does not sell out to box office, celebrity or what his fans expect of him, rather he must be committed to the character he is creating. Through the process of searching out the truth of this "individual", the actor has agreed to portray, he literally brings him to life.

Great actors provide us with a window into the complex internal life that exists in everyone of us that we are often times loathe to observe in ourselves and the ones we love. Even more importantly, actors can help us to understand and empathize with those who we feel we have nothing in common and who we may have judged harshly because they do not look as we look, or worship as we worship, or are attracted to the wrong gender, etc...

What about the "evil" characters actors take on? What's the actor's responsibility to humanity in this situation? After all, "evil" characters are monsters, barely human, right? Wrong, and a very dangerous assumption. Taking on this kind of role may be the actor's greatest challenge and greatest responsibility to humanity. It's far too easy to separate ourselves from those who society has condemned as evil. An actor who digs deep enough and finds the humanity in a character like this destroys the artificial divide we've created between them and us that enables us to "separate the wheat from the chaff".

Persona + Need + Tragic flaw = Truth of Character, is the formula Oscar coach and acting guru Susan Batson, author of Truth: Personas, Needs and Flaws in the Art of Building Actors and Creating Characters creating for the actors she has trained. An actor’s consideration of a character begins with tension between the persona and the character and the need that lies behind that persona. Everyone has an underlying core need, from childhood and deeply planted by about 5-years old...a need to be fathered, mothered, to please, be respected, be loved etc. HOWEVER, we can’t walk around naked and vulnerable, exposing that "need" to the public, so we build a persona to cover that need, hence, the mask is created.

When the persona, out front, and the core need deep inside, collide and can’t work together, the flow is disrupted, and the tragic flaw emerges. The persona(s) we create are normally in stark contrast to our innermost need...so unless one learns to integrate the two somehow, the tragic flaw is almost unavoidable.

Here are some examples Ms. Batson gave:

The Aviator. The need is to be mothered. The public persona is no limitations, the opposite of a Mama’s boy. The tragic flaw that emerges is he goes crazy.

Monster’s Ball. Halle Berry. The need to be loved. The persona is to push everyone away, be the porcupine. The tragic flaw is to be a victim.

Lost in Translation. Bill Murray. The need to be pure and honorable. The persona is to become a hustler. The tragic flaw that emerges is to hate himself.

When the actor is aware of this split screen, it gives the dimensionality and depth in the performance and provides a universal connection.
"There are lots of personalities out there but few great actors. Great actors are interested in the art form and work very hard at what they do. The powerful component that all great actors have is empathy. An actor must also possess an ease inside his own skin and have the life of his body available to him in a sensory way. The sexuality of the actor that must be present and available to him. He must be in touch with his physicality, in addition to possessing intelligence, emotion, imagination etc. Actors must, at the very least, have the ability to tell truth and refuse to gloss it and be righteously striving to understand themselves and humanity."

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Thursday, October 08, 2009

Betting On the Profit Potential of a Movie

Investments can kill you, or so says The Motley Fool, so beware. However, the following sounds fairly benign, or is it?

We know Wall Street can create an investment vehicle for just about anything and everything, and that includes the movies. That's right, futures trading on box office returns. Soon, betting on the profit potential of a movie will become reality as the second film business applied to US regulators to set up a “movie derivatives” exchange. The Commodity Futures Trading Commission (CFTC), began seeking comment on an application by privately-held Veriana Networks to operate Media Derivatives as an “electronic exchange for contracts based on box office movie revenues”.

Wait. What about Domestic Box Office Receipt Futures (DBOR Futures), from Cantor Exchange, a subsidiary of Cantor Fitzgerald, L.P.?

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Friday, January 23, 2009

Bringing Ethics to Life Through Film.

The book International Relations on Film by Robert W. Gregg, explores the ways in which feature films depict the various aspects of international relations, considers the utility of the medium as a vehicle to dramatize issues and events, challenge conventional wisdom, rouse an audience to anger and even revise history and includes a very comprehensive movie list.

The Carnegie Council, through their programs, publications, and website,aims to be the world's central address for ethical decision in international affairs. Listed below you can find is the list of films from their website:


OPPRESSION AND CONFLICT, COLONIALISM AND ANTI-COLONIAL MOVEMENTS
:

The Battle of Algiers(1966)
Shot in documentary style, this classic about the Algerian struggle for independence from France in the 1950s has become a learning tool both for rebel movements and those fighting them. The film graphically raises issues of what is justified in an assymetrical guerrilla war: Bombs killing innocent civilians? Torture of presumed terrorists?

Gandhi (1982)
This film, winner of eight Academy Awards, covers Ghandi's time in South Africa; the anti-colonial protest campaign that led to India's liberation from Britain; and his assassination after his efforts to restore peace between Hindus and Muslims.

The Home and the World (1984)
The story of a love triangle between a rich, English-educated Bengali, his wife, and a radical nationalist politician,this film dramatizes the political, cultural, and religious differences among Indians under British colonial rule at the turn of the 20th century.

Khartoum (1966)
After a messianic leader and his troops massacred a British-led Egyptian force in Sudan in 1883, the British sent General Gordon to Khartoum to evacuate British and Egyptian citizens. But Gordon disobeyed orders and stayed on to fight. It was his last stand. "A good example of Eurocentrism in filmmaking, as well as a cautionary tale about the perils of imperialism," says Gregg.

The Mission (1986)
In this visually spectacular film, Spanish Jesuits and Portuguese colonizers struggle over a group of Guarani Indians. It tells of clashes between cultures, between faith and greed, a struggle for redemption, and well-meaning efforts that go badly wrong. Of course, the biggest losers are the Guarani.

Rabbit-Proof Fence (2002)
From about 1870-1970, the Australian government forcibly took many aboriginal and mixed-race children from their parents and brought them to boarding schools where they were taught to forget their past. Rabbit-Proof Fence is based on the true story of three girls who escaped from one such school in 1931 and trekked 1,500 miles home. For an article on this topic, see The Stolen Generation.

The Wind That Shakes the Barley (2006)
In 1920s Ireland, two brothers join the IRA, which is fighting a guerrilla war the British. Both sides behave brutally and become brutalized. With the announcement of the Anglo-Irish Treaty in 1922, there is initial rejoicing. But the situation soon turns into a civil war: idealism against pragmatism, brother against brother.

Zulu (1964)
Based on a true story, the film shows the 1879 battle of Rorke's Drift, when around 100 British soldiers stationed at a remote missionary outpost faced an assault from 4-5,000 Zulu warriors. Though seen from the British point of view this is a rousing tale of heroism on both sides, as well as a portrait of individuals, both good and bad, who did the work of imperialism in far-flung parts.

TOTALITARIANISM:

The Lives of Others (2006)
Taking place in East Berlin both pre-and-post the fall of the Berlin Wall, this subtle and gripping film tells the story of a playwright and his actress girlfriend, the Stasi agent assigned to spy on them. It lays bare their secrets, moral choices, and compromises, and the changes they and their society go through.

INSIDE THE WAR ROOM

Why We Fight (Documentary, 2005)
In 1961, Eisenhower warned that the interests of the increasingly powerful "military-industrial complex" might one day determine the direction of U.S. policy. Has that day come to pass?

Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)
In this classic black comedy, an insane U.S. General launches an unauthorized nuclear attack on the USSR, and the U.S. War Room tries to stop him. The film, says Gregg, "provides a veritable clinic on deterrence theory, the problems of command and control, and that high-wire act known as crisis decisionmaking."

Fail-Safe (1964)
Shot in black-and-white documentary style, this nightmarish film is the story of a fictional Cold War nuclear crisis. Due to a technical failure, U.S. nuclear bomber crews get the wrong orders and both the Americans and the Russians try frantically to abort their mission.

Thirteen Days (2000)
A recreation of the 13 tense days of the Cuban Missile Crisis, from the perspective of President Kennedy, his advisors, and military commanders, Thirteen Days portrays the hawks in the military as nearly as much of a threat as the Soviets.

The Fog of War: Eleven Lessons from the Life of Robert S. McNamara (Documentary, 2003)
In a series of interviews, former U.S. Secretary of State McNamara reviews his life, focusing on the difficult decisions he made and the lessons he learned from the failure of the Vietnam war.

COVERT OPERATIONS AND ESPIONAGE:

Breach (2007)
A dramatization of the operation leading to the arrest and prosecution of Robert Hanssen, the FBI agent found guilty in 2001 of spying for the Soviet Union and the Russian Federation, Breach explores one man's motivations for betraying the secrets of his country.

The Good Shepherd (2006)
Following 35 years in the life of a character who joins the CIA at its founding after World War II and becomes a star counter-intelligence agent, The Good Shepherd presents an unromantic picture of a career in espionage.

Missing (1982)
After the kidnapping of U.S. journalist Charles Horman during the 1973 coup in Chile, his wife and father embarked on a desperate search for him. Along the way they discovered evidence suggesting the involvement of the CIA in the coup as well as in Horman's disappearance. Based on a true story, this film urges viewers to consider the dark side of U.S. covert operations abroad.

State of Siege (1973)
In 1970 a USAID official in Uruguay was kidnapped and executed by leftist guerillas. Shortly after his death it was reported that the official had been secretly involved in training the military and police in counterinsurgency tactics, including torture. State of Siege, based loosely on this episode, sympathizes with the guerillas' actions.

Three Days of the Condor (1975)
A thriller about a CIA agent who learns of a secret CIA plot to infiltrate and destabilize the Middle East and who becomes a target as a result, this film illustrates the dangerous consequences, globally and domestically, of corruption in the CIA.

GENOCIDE

Au Revoir les Enfants (1987)
Tragic, autobiographical film about two French boys in a Catholic boarding school during WWII. One of them is secretly Jewish, being hidden by the priests from the Nazis. The film raises issues of courage, greed, and betrayal.

The Diary of Anne Frank (1959)
This film is an adaptation of a play based on the diary of Anne Frank, a 13-year-old Jewish girl who, with her family and others, hides in a crowded attic during the Nazi occupation of Holland. The DVD includes interviews with the actors, historians, and members of the Frank family. Best to read the diary itself (The Diary of a Young Girl) but the film is powerful too.

Ghosts of Rwanda (Documentary, 2004)
This tells the story of the genocide through interviews with UN peacekeepers and other Westerners who were there at the time; Tutsi survivors of the slaughter; confessed Hutu killers; and high-level government officials and diplomats, including Madeleine Albright and Kofi Annan.

The Killing Fields (1984)
The true story of reporter Sidney Schanberg, and his colleague and friend, Cambodian journalist Dith Pran. Like most westerners, Schanberg fled Cambodia after the murderous Khmer Rouge regime seized power in 1975, but Pran could not. For the next four years, Pran labored in rice paddies as the genocide unfolded around him. He finally escaped and reunited with Schanberg.

Hotel Rwanda (2004)
Based on the true story of a Rwandan hotel manager who saved the lives of over 1,200 refugees during the 1993 genocide, this film points blame at the international community and the UN for doing almost nothing to intervene.

Triumph of the Will (1934)
Probably the most famous propaganda movie ever made, this film documents the Nazi Party Congress and in Nuremberg in 1934. Hitler commissioned it and plays a starring role.

THE EXPERIENCE OF WAR

All Quiet on the Western Front (1930)
A moving adaptation of Remarque's antiwar novel that follows a group of young German recruits from idealism to disillusionment in the trenches of World War I.

Apocalypse Now (1979) and(1986)as the two best movies about the Vietnam War (or the American War, as the Vietnamese call it). Based loosely on Heart of Darkness, it follows a U.S. Army captain on a mission to kill a rogue Green Beret colonel, Kurtz, who has deserted the military to lead a band of Cambodian tribesmen in the jungle. The film suggests that there is little difference between Kurtz's murderous escapades and the American soldiers' killing of Vietnamese peasants.

Flags of Our Fathers and Letters from Iwo Jima ( 2006)
These companion films recreate the famous World War II battle on the island of Iwo Jima from the perspective of the Americans (Flags of Our Fathers) and then the Japanese (Letters), who, though vastly outnumbered by American forces, fought for nearly 40 days to defend the island.

Casualties of War (1989)
The story of a five-man patrol in Vietnam that kidnaps and eventually kills a young girl and the one soldier in the group who refuses to participate, Casualties of War, based on an actual event, depicts war as a destroyer of men’s morals.

Gallipoli (1981)
Almost an entire Australian army unit was wiped out by Turkish machine gunners in a futile offensive later known as the Battle of the Nek, which took place during the Gallipoli campaign of World War I. Gallipoli tells the story of two young Australian friends who enlist in the army and wind up fighting side by side in this tragic battle.

Grand Illusion (1938)
In this story of French prisoners of war held by the Germans during WWI, we see friendships by social class that cut across national lines, and a call for humanism rather than patriotism. An anti-war classic, without a single battle scene.

Platoon (1986)
Told from the point of view of a middle-class college student who volunteers to fight in the Vietnam War and whose idealism about the war vanishes, Platoon realistically portrays the chaos and confusion that American soldiers faced in the jungles of Vietnam.

The Bridge on the River Kwai (1957)
In Burma in WWII, British prisoners of war are forced to build a railway bridge for the Japanese. "With an all-male lead cast, themes of heroism, pride, military tradition, hierarchy, and power are masterfully interwoven into a plot that is ambiguous enough to allow for various viewpoints and perspectives," says reviewer Tom Dirk.

MILITARY JUSTICE

Breaker Morant (1979)
In 1902, near the end of the Boer War, "Breaker" Morant and two other Australian soldiers were tried before a British court-martial for killing Boer prisoners of war. They were found guilty, even though their commanders had authorized to carry out such killings. The film raises questions about the accountability of soldiers for their conduct in war and the independence of military courts.

Judgment at Nuremberg (1961)
Based on the Judges' Trial before the U.S. Nuremberg Military Tribunal in 1947, which charged judges under the Nazi regime with war crimes, this film with Spencer Tracy, Marlene Dietrich and a host of other stars raises the question of whether judges and other officials who carry out morally repugnant laws should be held accountable.

Paths of Glory (1957)
Loosely based on the true story of four French soldiers during World War I who were wrongly found guilty of mutiny and executed, Paths of Glory shows the terrible consequences of unprincipled military leadership, both on the battlefield and in the military courts.

The Execution of Private Slovik (1974)- The story of Eddie Slovik, who was executed by the Army in 1945, the only American soldier to be executed for desertion since the Civil War.

NATIONALISM, ETHNIC AND RELIGIOUS CONFLICT

Before the Rain (1994)
Set primarily in Macedonia during the Balkan wars of the 1990s, Before the Rain tells the story of intersecting lives devasted by the escalating violence between Muslims and Christians in Macedonia, where an all-out war fueled by religious and ethnic hatred appeared to be on the horizon.

Bloody Sunday (2002)
Docudrama of the events of January 30, 1972, when the British Army opened fire on unarmed civilians taking part in a civil rights march in Northern Ireland. None of the soldiers was disciplined, and the massacre caused the "Troubles" to swell to a new level of violence.

Cal (1984)
Set amidst the violence and bitterness of 1980s Northern Ireland, this is the doomed love story of Cal, a young Irish Catholic involved with the IRA, and Marcella an Irish-Italian (Catholic) widow whose Protestant husband was killed by the IRA.

SOCIAL AND ENVIRONMENTAL ISSUES
BUSINESS ETHICS

Blood Diamond (2006)
Set in Sierra Leone in 1999 in the midst of a civil war, Blood Diamond draws attention to the responsibility of citizens and businesses in the developed world to ensure that the diamonds they buy have not been used to fund conflicts abroad. It also highlights the plight of child soldiers.

The Constant Gardener (2005)
When a British diplomat stationed in Nairobi investigates his activist wife's murder—supposedly a crime of passion—he uncovers an unsavory conspiracy involving government officials and the pharmaceutical industry. Based on a book by John le CarrĂ©, who wrote in the afterword, "By comparison with the reality, my story [is] as tame as a holiday postcard."

The Corporation (2003)
What if corporations were human beings? According to a pyschiatrist in this documentary tracing the history and activities of corporations, they have ''all the characteristics of a prototypical psychopath.''

Rogue Trader (1999)
The true story of Nick Leeson, a Barings Bank trader, who unbeknownst to his employers, was gambling with company money. His staggering losses force Barings into bankruptcy.

Syriana (2005)
Set in the Middle East and inspired by the true story of former CIA agent Robert Baer, this is a political thriller with multiple story lines about the machinations of the global oil industry.

Wall Street (1987)
"Greed is good", says ruthless Wall Street corporate raider Gordon Gecko, in this morality tale of 1980s excess.

ACROSS BORDERS

Clandestins (1997)
This tragic story of six refugees from different countries trying to get to from France to Canada is set almost totally within the confines of a ship's cargo container.

El Norte (1983)
A Guatemalan brother and sister risk death to become illegal immigrants in "El Norte," the United States, but their dreams of a better life do not come true.

Dirty Pretty Things (2002)
Two illegal immigrants in London plumb the depths of the migrant experience, including uncovering the ultimate in exploitation, a ghastly trade in human organs.

Maria Full of Grace (2004)
Maria is 17, pregnant, and the sole breadwinner for her family in a small Columbian village. When loses her job over a request for a bathroom break she becomes a drug mule, flying to New York with 62 pellets of cocaine in her stomach. But once in New York, things go badly wrong. "Based on 1000 true stories," runs the film's tagline.

THE ENVIRONMENT
(These films could equally be classified under Business Ethics.)

An Inconvenient Truth (Documentary, 2006)
Al Gore explains the science of global warming, describes its present-day effects, and forecasts what the future may hold in store. We can reverse this trend, he declares, but we are running out of time.

The China Syndrome (1979)
This fictional thiller about a reporter and cameraman who discover safety coverups at a U.S. nuclear power plant was released just 12 days before the Three-Mile Island nuclear power plant suffered a partial melt-down.

A Civil Action (1998)
Based on a real-life case, a lawyer agrees to represent eight families whose children died from leukemia after two large corporations leaked toxic chemicals into the water supply of Woburn, Massachusetts, even though the case could mean financial and professional suicide for him.

Erin Brockovich (2000)
The true story of Brockovich, a legal clerk who brings a case against a company in California which had contaminated local drinking water.

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