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For a few weeks now, Movistar channel has been broadcasting The Vietnam War on a weekly basis , a ten-episode documentary series produced for the American public network PBS in and which has since garnered outstanding international and well-deserved reviews. It is directed by documentary filmmakers Ken Burns and Lynn Novick and scripted by Geoffrey Ward , to whom we also owe the acclaimed series The War (), about the North American participation in the Second World War, with which it shares similarities in both discourse, historiographically updated and distant. of hackneyed topics, such as treatment, supported by first-hand testimonies – perhaps the “highlight” of the series – from which the creators know how to take full advantage to develop a script that never drops in intensity and that constantly invites evocation and reflection on the conflict in Vietnam and, what is more universal and therefore more transcendent, on the nature of war.
In Spain, the montage made for the BBC is being broadcast with -minute episodes, despite the fact that the original version exceeds seventeen hours of footage, and it can be safely said that the viewer who approaches The War Vietnam will miss those extra hours of pure historical documentary. Vietnam: image and history And the tragedy of Vietnam is, when we speak in terms of memory and reflection on our past, a favorable place B2B Email List for the idyll between image and history. The vast majority of us discovered the Vietnam War through the screen and not from books. It was not a conceptual, academic approach, but rather a dramatic and sensory one that, however, and with its limitations, fulfilled the objective of making known a historical event and putting its problems on the table. From fiction, the great classics of the war genre of the seventies and eighties set in Vietnam inaugurated, or at least placed in the mainstream , a different way of describing the experience of war, perhaps more complex, more psychological and more critical. In this way, titles such as Apocalypse Now (), Platoon (), Full Metal Jacket () or Hamburger Hill () managed to capture the great issues that North American society had to face after the conflict.
Through fictional characters, but terribly plausible: children of carefree urban societies faced with a culture and environment foreign to them, young people from the working class fighting for a cause defined by the intellectual and political elites; African Americans and Latinos who had to serve their country when their civil rights were still in question; disenchanted idealists; combatants who embraced pacifism; veterans greeted with contempt upon their return home; alcohol, music, drugs and prostitution as an escape from reality. A partial vision, no doubt, but also hidden from the viewer until then. But even before cinema, audiovisual media and the documentary genre were able to bring the Vietnam War closer to society when analysts, political scientists and historians had barely had time to undertake the essential scientific analysis of the conflict. The absence of military censorship, added to a mass society that increasingly demanded audiovisual formats, led to some pioneering documentary filmmakers developing their work “live,” in the midst of hostilities. The Anderson section () by Pierre Schoendoerffer, In the Year of the Pig () by Emile de Antonio, or Winter Soldier () are just a few examples.
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