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By Xu Z., Yang X.

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This explains the ease that TV has long since had of producing programmes that are ambiguous in their status: the documentary-drama, or the drama-documentary, forms that seem to have existed in the late 1950s at least, on the BBC. indb 22 18/9/13 10:42:36 narration; they are chiefly concerned with the origin of material used in the programme. (Ellis 1990: 145–6) In spite of this general referential ambiguity, Ellis suggests, there remains a distinct ‘regime of representation’ that is particular to broadcast TV and which assumes and constructs distinct spectatorial relations.

In different ways, Butterfly Kiss, 9 Songs, and A Cock and Bull Story are also ‘as random as war’, but the problem of storytelling or narrative adequacy is foregrounded here in a particularly literal way. When, in the professional language of journalism, a news report is a ‘story’, this means that the film is as concerned with the difficulties of telling and broadcasting stories, as it is with the subject matter of those stories. While Nicholson’s book is presented as Natasha’s story, the film is oriented more around the storyteller (Nicholson/Henderson) than it is around Natasha/Emira or the war taking place in the background.

He stands and shouts at them (in unsubtitled Bosnian) while Gregg films him. ’, at the boy and they drive off. The figure of the altar boy recurs later as Henderson’s dream rendered in low resolution hand-held video shots, his robes now blood-stained. The fact that it is an altar boy is perhaps intended to stress the enormity of the violence, through its profanity, however the filmmakers’ decision to foreground a Catholic ritual in the context of a predominantly Muslim city is a curious ornamentation of Nicholson’s account.

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