How Casting and Cinematography Bias Audiences

The films J.F.K. and All the President’s Men are based upon major historical political events. J.F.K. is a film that is centered around New Orleans District Attorney Jim Garrison’s quest to disprove the Warren Commission’s “single bullet theory.” The film uses Garrison’s character as an icon t

have happened, through the use of a likeable character who is advocating speculation against the American government. J.F.K. does not attempt to hands down solve the mystery, but shows a process, based upon fact, through which one single man stands up for what he believes in, and gives his best shot at revealing the truth and restoring justice in America.

In All the President’s Men, an account of the discoveries of Watergate is not the focal point of the film. Instead, Redford decided to document the fascinating process by which two “ordinary guys” working at the Washington Post uncover one of the most well-known political scandals in American history. The film goes step by step through the obstacles and victories experienced by Carl Bernstein and Bob Woodward. When creating the film, Redford worried that audiences would become bored already having knowledge of the final outcome of the Watergate scandal. “How,” Toplin asks, “could the screenwriter make such a story riveting drama?” (Toplin, 185). Because the story is told from the point of view of two characters to whom the audience can relate, it holds their attention. The story has humanity and is not based simply around the politics of the scandal. Since the film involves real people and real emotions, the audience gains a true interest in the characters and the steps taken in their seemingly impossible journey towards the truth. Audiences were impacted by Hoffman and Redford’s portrayal of the two intrepid reporters, and “what people would know and remember in years to follow was, indeed, shaped by this popular motion picture” (Toplin, 191).

The historical films J.F.K. and All the President’s Men both use symbolism, cinematography, and enigmatic leading actors to draw audiences’ sympathy and interest to the films. Both films are based upon monumental political controversies which gravely affected the American public’s confidence and trust in the United States government. However, these stories are told from the viewpoint of characters much less powerful than the forces they were combating. To ensure audience support, the protagonists are portrayed as amicable, honorable, and determined characters. The casting of young, attractive, and magnetic actors reinforces the audience’s desire to sympathize with the protagonists. In addition, the strategic use of symbolism and cinematography tightens the grip that the films already have on the audience. Through the use of these creative devices, the makers of these films ensure that the viewer is supporting “the just side.”

o represent any American who ever questioned the validity of the Warren Commission’s claims. In the same manner, not all of the events that occur in the film are factual, but many are simply meant to represent a broader idea. For example, when Stone wished to portray Kennedy’s popularity with the African-American population, he did so through a single black woman’s proclamation, “He did so much for our country, for colored people” (J.F.K.). As stated by Robert Rosenstone, “The Hollywood historical film will always include images that are a

Some topics in this essay:
JFK President’s, Post Toplin, Bob Woodward, Washington Post, Washington DC, Jim Garrison, Warren Commission’s, Pakula President’s, Robert Redford, Costner Garrison’s, jim garrison, films jfk president’s, watergate scandal, films jfk, washington post, jfk president’s, toplin 188, audience support, symbolism cinematography, carl bernstein, washington dc, president’s based major, jfk president’s based, characters audience relate, bernstein bob woodward,