“JFK”

The Destructive, Useful, Unethical Presumption of Bigotry, Part 2: The Oscar “Snub”

/ Jack Marshall / 13 Comments

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For the second time in nearly two decades, and for the first time since 1998, the Oscars will be awarded to only white acting nominees. This, then, if you listen to the caterwauling race-baiters, is because Hollywood is racist. The Academy’s voters just hid it well since 1998, that’s all. Does that make any sense to you?

There are few more infuriating and transparently illogical examples of an unfair slapping down of the race card than looking for bigotry in the notoriously arbitrary, bias-soaked, essentially meaningless choices for “best” in the various Academy Award movie-making categories. Yet the race card sharks were up to the task.  Naturally, the authority on the subject was Al Sharpton, he whose own performance quality on his MSNBC TV show is so amateurish that it would be shut out in any community theater awards.

“In the time of Staten Island and Ferguson, to have one of the most shutout Oscar nights in recent memory is something that is incongruous,” Sharpton told The Daily News. Wait, what??? Incongruous is the assertion that the nominations for film-making excellence should be influenced in any way by how many blacks are killed resisting arrest. Anyone who finds that to be a logical argument for why more black actors should have been nominated for Oscars is useless to any rational discussion of the issue. I want a show of hands. Continue reading →

Ethics Quote Of The Month: Washington Post Film Critic Ann Hornaday on “Selma”

/ Jack Marshall / 14 Comments

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“How to reconcile facts and feelings, art and fealty to the truth? When filmmakers recall with pride about the deep reporting and research they’ve done for their projects, then they deserve to be held accountable for their projects. For fact-based films, accuracy becomes a formal element, along with acting, design and cinematography. It’s up to each viewer to identify the threshold where artistic license compromises the integrity of the entire endeavor. Cinema has more responsibility in this regard precisely because of its heightened realism, its ability to burrow into our collective consciousness and memory, where the myth has a tendency to overpower settled fact. But viewers have responsibilities, too. If accuracy has become a formal element of historical dramas, then the ensuing fact-checks have become just as integral a part of how we view them. That means it’s incumbent on audiences to engage in a mode of spectatorship that, rather than decide who’s right, can listen to and respect expert critiques, and still open themselves up to a piece of filmed entertainment that speaks to less literal, more universal truths.”

—–Ann Hornaday, Washington Post film critic, on the controversy regarding the counter-factual treatment of President Lydon Johnson in the new film, “Selma.”

The question of whether film makers have an ethical obligation to fairly represent history, and particularly individual historical figures, in their movies has been a topic visited frequently at Ethics Alarms, and I’m not going to re-hash conclusions that have been thoroughly discussed before, such as

…here, regarding the casting of “The Impossible” with a gleamingly light-skinned central family and the changing of the real life heroine from Spanish to British

…here,  discussing complaints that a fictional event was not portrayed accurately in “Noah”

…here, exploring the many falsehoods, some quite despicable, in James Cameron’s “Titanic”

…here, regarding unfair criticism of “Argo”

and here, discussing “Lincoln” screenwriter, playwright Tony Kushner’s inexcusable choice to represent a real life former Congressman voting against the Thirteenth Amendment abolishing slavery when in fact he voted for it.

The conclusion of that last one sums up the lessons of the rest, I think. Kushner’s defense against criticism of the collateral damage his invented facts wreaked was to argue that they were legitimate tactics in the pursuit of drama and “greater truths.” He then compared smearing the reputation of a Congressman, to the detriment of his descendants, to misrepresenting the kinds of socks Lincoln wore. (Kushner can be a brilliant writer, but his ideological utilitarianism is repellant.) I wrote:
Continue reading →

“Noah” Ethics

/ Jack Marshall / 25 Comments

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There is nothing unethical about “Noah,” the biblical spectacular that harkens back to the grand old days when Cecil B. DeMille reigned supreme. I haven’t seen the movie, and yet I can say that with absolute certainty. The reason I can say it that there is no way on earth that a movie about Noah and the Ark, in this day and age, could possibly be unethical. Even if the Old Testament were literal fact, which it is not, cannot be and in all likelihood was never intended to be, “Noah” couldn’t possibly be unethical, because it is a movie.

Never mind that of all the Biblical fables, with the possible exception of Adam and Eve, the tale of Noah is perhaps the most obviously impossible. The movie is art—of one kind or another—and does not represent itself as a documentary or make any factual assertions whatsoever. Thus it can be distinguished from a truly unethical film like Oliver Stone’s “JFK,” which intentionally misrepresented recent historical facts to “prove” a theory of the Kennedy assassination that was irresponsible and almost certainly false. Is “Noah” dishonest? It is impossible to be dishonest about a presumptively non-historical event about which there is no direct evidence whatsoever, and when there is no intention to deceive. Is it disrespectful? Art has no duty to be respectful. Is it fair? Fair to who? An artist’s stakeholders are those who appreciate his or her art. Does it do harm, or intend to? No. Continue reading →

Grassy Knoll Ethics: How Deception Breeds Distrust

/ Jack Marshall / 12 Comments

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We once again must squarely face the hoary  quote from Walter Scott’s epic poem Marmion: “Oh what a tangled web we weave when first we practice to deceive.” It is hoary because it is true, and this month’s Smithsonian Magazine reminds us of how true it is, recounting how well-intentioned deceptions by the news media regarding evidence in the assassination of President Kennedy helped create a conspiracy theory that will not die, and that may have begun the slow, relentless deterioration of America’s trust in its own government that has reached dangerous proportions today.

Frame 313 of Abraham Zapruder’s accidental record of one of the pivotal moments in U.S. history gave him nightmares, and when he sold the rights to his amateur movie to Life Magazine, he insisted that frame be withheld from the public, and not published. “We like to feel that the world is safe,” documentary maker Errol Morris explains in the article.“Safe at least in the sense that we can know about it. The Kennedy assassination is very much an essay on the unsafety of the world. If a man that powerful, that young, that rich, that successful, can just be wiped off the face of the earth in an instant, what does it say about the rest of us?” I understand, but withholding the truth is not the way to make the world seem safer. As the story of the conspiracy shows, it is how we end up trusting no one. Continue reading →