Even though the depiction is a simplification, the procedures are similar if we reduce them to "coordinating" and "analyzing." Covert operations by themselves are actions as simple as the ones suggested in the movie. Considering these actions as military or paramilitary operations we are dealing with them as an extension of a particular professional training. From a sociological perspective, the explanation is much more complicated because we are assuming the existence of an external reality shaped by social institutions devoted to organize and executed such actions. In fact, they exist, but the impact of their actions sometimes only can be perceived after years, and these operations are a cog in a very big machine that includes a variety of measures. To bend a population's will demands resources, coordination, and time. Not all the measures are "violent" ones, these are used with legal, economic, and discoursive ones. These methods are old and they have been used by the people behind the superpowers efficiently in many places around the world. Even though, the main form of coercion is not through covert operations but, by the practices that we consider "normal", "common", that are part of "daily life", that create and reproduce social differences and that are repeated once and again by billions of people around the world. Among the literature you can read about it, the following sources may be of help to understand how the process is develop: 1) 'The Shock Doctrine. The Rise of Disaster Capitalism' by Naomi Klein; 2) 'Inside the Company: CIA Diary' by Philip Agee; 3) 'Distinction: A Social Critique of the Judgement of Taste' by Pierre Bourdieu. This book is not about covert operation in the sensationalized sense but, about daily perceptions and action that cotribute to reproduce relations of subordination and domination, a "subtle" struggle for the "legitimate" taste. This book explains enough as to allow us to move away from a "conspirational" perspective into a more rational one. 4) 'Annex "B" to the U.S. Doctrine, PSB-D33, June 29, 2013.' This declassified document is an example of "coordination."
No, it isn't. Even though it seems at first sight to be a "one-shot feature film" or a "continuous shot feature film", in fact, it is composed by 9 shots that last (around) ten minutes each one (90 minutes) and 1 shot that lasts around two minutes. The camera is almost positioned at the same place every time. If you look carefully, you could notice the cut and the slight variations in the camera position and the more or less evident changes in the illumination. It is easier to notice the cut at certain moments than at others.
Yes, there are. "Rope" (1948), directed by Alfred Hitchcock, uses takes that last between 4 and 10 minutes. "Empire" (1964) by Andy Warhol and John Palmer (directors) and Jonas Mekas (cinematographer) focuses a static camera on a static subject: the Empire State Building. The light changes naturally and the movie lasts 8 hours and five minutes (when it is projected in slow motion as was originally intended.) The United States' National Film registry concedes great cultural value to "Empire." "Theoretically, a paranoid conspiratorial phone call" combines film techniques from both movies: it applies 10 minutes takes and an almost static camera focused only on one subject, a human one in this case, which is more histrionic than the Empire State Building. So, the movie combines characteristics of an "art film" (or interest in the form) and a "commercial movie" (or interest in the theme.)
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By what name was Theoretically, a paranoid conspiratorial phone call (2020) officially released in Canada in English?
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