U-571
Bibliographic Data
| ID | 10044775 |
|---|---|
| Authors | Lawrence Suid (corresponding author), Jonathan Mostow, Michael Bay, Jerry Bruckheimer |
| Year | 2001 |
| Volume | 88 |
| Issue | 3 |
| Pages | 1208 |
| Publication date | 2001-12-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Journal of American History (JOURNAL) |
| Journal identifiers | ISSN: 0021-8723 • E-ISSN: 1945-2314 |
| Publisher | Oxford University Press (OUP) (PUBLISHER) |
| DOI | 10.2307/2700575 |
| OpenAlex | W2316206576 |
| Language | EN |
What constitute the limits of dramatic license in fictional motion pictures set within the framework of a historical event? Filmmakers have regularly argued that the need for drama always outweighs the need for plausibility and historical accuracy. Audiences have generally bought the argument, as have the filmmakers themselves. Does it matter that Steven Spielberg portrays the Pentagon receiving word of the death of two Ryan brothers on Omaha Beach within two days of D day? Does it matter that a German fighter plane flew to the vicinity of Greenland as shown in U-571? Does it matter that Jimmy Doolittle and his raiders never flew in formation during the attack on Tokyo as shown in Pearl Harbor? Who cares? After watching U-571, one person said, “If I want to see the truth, I will watch PBS.” But does falsifying or fabricating events add to the drama, or is
Archaeology · Argument (complex analysis · Art · Art history · Drama · Event (particle physics · German · License · Literature · Pentagon · Political science · Subject matter · Cinema and Media Studies · History · Italian Fascism and Post-war Society · Law
| Highly cited | No |
|---|