On the occasion of the release of The Hurt Locker (see Michael Joshua Rowin’s review), a look at Kathryn Bigelow’s close identification with, and ironic distance from, her IED-defusin’, surfin’, bank-robbin’ adrenaline junkies. (Transcript here.)
On the occasion of the release of The Hurt Locker (see Michael Joshua Rowin’s review), a look at Kathryn Bigelow’s close identification with, and ironic distance from, her IED-defusin’, surfin’, bank-robbin’ adrenaline junkies. (Transcript here.)
Bigelow’s biggest sin lies in her creation of an ironic “other”– ie. a character who embodies the most romantic and cherished core beliefs of a culture, while also imbuing them with the aura of an outsider. Her characters– in many ways are like the Las Vegas of american heroes. An impossible to understand pastiche of neon cliches that glow in the middle of a desert– unreal, unsustainable, and the ease of engaging with them is VERY expensive.