AND ANOTHER PASSAGE ABOUT REDACTED
BBC News reports that Steven Green has been given five life sentences, with no possibility of parole, for the rape and murder of a 14-year-old Iraqi girl, and the murder of her family. The incident was the basis for Brian De Palma's 2007 film, Redacted.
Nick Lacey posted an excerpt the other day from his recently published second edition of Image and Representation, which looks at key concepts in media language. The excerpt he posted, called "Representing the war in Iraq," looks at several of the films made in recent years about the conflict that began in 2003. Lacey provides a brief but interesting analysis of Redacted, although he seems to say that the photograph that ends the film is an actual photograph (which therefore leads him to call the film "exploitative"), although the final photograph (shown here) was actually a staged photo. Here is Lacy's passage about Redacted:
Redacted, the most unconventional of the ‘Iraq films’, also uses new media technologies to represent the rape of a 15-year-old girl and the murder of herself, and her family, by US marines. The film starts with a disclaimer that the film is ‘a fiction inspired by true events’. The writer-director, Brian De Palma, uses a mix of texts to show what (might have) happened: a ‘home video’ made by one of the marines; a pastiche of a French (intellectual) documentary about Iraq; CCTV cameras; Internet postings; a video made on a mobile phone; photojournalism. Although it may seem that it is a realist text, the multimedia mixing instead draws attention to the artifice of what is shown. This may suggest that such horrendous events cannot be convincingly rendered by realism. Indeed De Palma also deploys melodrama; the one good guy, who tries to publicise what’s happened, is called Lawyer McCoy. This melodrama extends to the use of an aria from Puccini’s opera Tosca, the protagonist of which murders the man who is trying to rape her. This, highly passionate, aria could be seen as an ironic comment upon the Iraqi teenager’s inability to kill her rapists. However, the last image of the film is an actual photograph of the dead girl which needs no melodramatic heightening to appall its audience and so, ultimately, De Palma’s film comes across as exploitative.