Visible Feature in Oliver Stone Films

Stone clearly intends to escort and to affect, though his role as witness may be created rather than be a direct recording of history. These leash fritter aways share certain characteristics. All are set for the most part in the mid-sixties, or at least have the 1960s as their touchstone for an the States in turmoil and an America unaware of the secret underpinnings of government and society. There is a well-set horse sense of paranoia infusing solely three films, with the clear belief on the part of the filmmaker that the leadership was not only fall break through of touch with the real needs of the people they served but was excessively dedicated to hiding mistakes, intentions, and the "real story" in general. A few authentic individuals are able to figure finished this facade and bring the truth to the public, for which they are vilified and marginalized.

In the col sequence of Born on the Fourth of July, Stone uses a sense of nostalgia to evoke not only a sense of the past but the idea of the American dream, the solidity of the American family, and the values of small-town American spirit, all supposedly related to a belief in the leadership of America. Stone here uses whatever of his most naturalistic techniques to create the childish war games in the woods, footage that will have strong resonance later when Ron, straight forth grown, discovers the difference between playing at war and armed combat a war.

The parade down Main Street is the innate element in this opening, and here Stone uses the so

Rosenthal, A. The Documentary Conscience: A Casebook in Film Making. Berkeley: University of California Press, 1988.

Turan, Kenneth. "JFK: Conspiracy in the Cross Hairs." Los Angeles clock (December 20, 1991), F1.

Hilburn, Robert. "Sex, Drugs, and 'The Doors.' Los Angeles Times (March 1, 1991), F1.

Another image emerges from these opening sequences as we chaffer different characters learning about the assassination--most of the participants who would feature in the investigating by the New Orleans District Attorney erudite about the assassination by means of newsreel footage themselves as they watched video in their homes, offices, local bars, restaurants, and elsewhere.

The watchman who was alive then promising learned much about the matter in the same way and will be reminded of this by these early scenes; the viewer who was not alive then likely gets most of his or her news from television today and so would overly see a reflection of reality in this element.

The dream-like memory also is linked directly with the type of music Morrison performed, and one of those songs is performed on the soundtrack--the song itself a dreamy speculation on life and death--as the family car glides past the dead and dying around the handicraft accident. The father gets out of the car to ask what has happened, and significantly the photographic camera stays in the car with the boy, too far away to hear the answer. These deaths are left mysterious, emphasizing the random personality of death and perhaps recalling its inevitability, no matter what the specific dry land in a given instance. The dreamy quality of the film matches the quality of the music and demonstrates how much of the past is included to show how the music was shaped:

It might indeed, and it might because Stone has make such good use of film techniques to lay out a scenario that can be examined, considered, tested, and even challenged. In all three films, Stone witnesses and affects and uses the techniques of both narration
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