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Film-making and warmongering have a lot in common

By prospect   May 2003

In one of the first narrative films, The Great Train Robbery (US, 1903), a cowboy in close-up shoots directly into the camera. Alfred Hitchcock’s black-and-white film Spellbound (1945) ends with a hand holding a gun, turning towards the camera and firing straight at the audience. Fifty years later, the makers of the The Matrix simulated the flight of a bullet through the air, picturing eddies behind it and distortions around it.

These are just milestone examples of what has been a close relationship between cinema and firearms. Movie makers want to jolt and shock their audience, fairground style. How better…

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