My tutor’s feedback was very encouraging highlighting areas to rework work to strengthen the work one of which was the glossing over of Captain Philips and the sweeping statements.

I this rework I have concentrated on:

• adding a definition of propaganda
• adding more weight to the fact that Kapringen juxtaposes life at see with corporate life and reflects the lack corporate responsibility to staff over the desire to make and save money
• highlighted more that Fishing Without Nets presents a first person documentary to engage the audience in understanding, if not fully sympathise with, the pirate’s situation
• add weight to the theory of Paul Greengrass acting as a propagandist as pro-USA and showing the pirates just as archetypal bad guys not “genuine criminals” with a back story to understand
• slight change to title to correct English usage.

Overal I’m happy with this essay and would not have believed it possible that I could have produced such work after the faltering starts early in the course.

IFC Assignment 3 Highlighted Tutor Feedback

 Modern piracy has been a global issue since the turn of the 21st century as a direct result of the rise in sophisticated, organised groups of pirates attacking ships off the coast of Africa, Asia and, to a lesser extent, South America; holding crews for ransom or taking valuable cargo that is subsequently sold to buyers in pre-arranged agreements (BBC and Coughlan, 2006). This type of piracy is vastly different from the swashbuckling heroic pirate traditionally played by Errol Flynn on film and, more recently, revived by Johnny Depp as Captain Jack Sparrow in Disney’s Pirates of the Caribbean franchise. However, in examining such traditional representations of piracy on the high seas, Understanding Film Theory 2011 states: “These popular narratives have an underlying moral message. All swashbuckling stories expose the dangers of an all-powerful elite class, which given free rein tyrannises and exploits the less fortunate for materialistic gain” (Etherington-Wright and Doughty, 2011). While modern piracy is less glamorous than that shown by Errol Flynn, does it give filmmakers a platform in their role of propagandist to challenge the political establishment in the same way?

Propaganda is, by definition,  “information, especially of a biased or misleading nature used to promote a political cause or point of view” (Oxford Dictionaries | English, 2017). This essay will analyse the points of view that are conveyed in three films: Tobias Lindholm’s Kapringen (A Hijacking) (2012); Cutter Hodierne’s Fishing Without Nets (2012); and Paul Greengrass’s Captain Phillips (2013). It will examine how the directors may be considered propagandists with a view to assessing the theory that their cinematic products seek to influence public opinion on a topic – in this case, modern piracy – projecting the narrative from specific perspectives in order to encourage the audience to think about piracy in very specific ways.

The cinematography of all three movies actively reinforces the directors’ perspectives. In Lindholm’s Kapringen, it is important to note that, in order to establish a realistic environment for the narrative, it was actually shot on a genuine cargo ship, the MV Rozen, that was hijacked off the coast of Somalia. Also, the telephone conversations between Omar and Peter Ludvigsen were filmed with the actors in Kenya and Denmark respectively, again to help with realism and tension (Times and Olsen, 2013).

The opening scene maximises the impact of the authenticity by framing the character Hartmann against the open sea while he is on the phone to his family. There are several medium close-up shots of him in a similar vein that serve to present him as the main protagonist, whilst drawing attention to the juxtaposition of his life at sea and that with his family. This portrayal as family man positions Hartmann as a signifier of the film’s central idea about the human cost capitalism and corporate power. This introduction also frames the narrative by providing an environment in which neither the pirates nor the captives are in their own spatial field, instead framing them as displaced (Villarejo, 2013). This actively reinforces the power that those in the office – and by extension the corporate world – have over the fate of all those on board, and highlights the function of the movie as propaganda.

On the other hand, the cinematography in Hodierne’s Fishing Without Nets deliberately forces a shift in the discussion of modern piracy, presenting it through the eyes of the pirates, who also happen to be poor Somali fishermen with limited prospects and no other way of making a living. Although some scenes are cinematic, in that they are shot with smooth camera work and dramatic lighting (Bordwell & Thompson, 2016), it appears that the pirates are being interviewed for a documentary as a result of the medium close-up and the way in which they speak to camera. This is juxtaposed in the next scene with an unsteady camera that follows them to the ship, which is more reminiscent of observational documentaries. It is also supported by narration from the pirates, who discuss strategy and why they do what they do: “We don’t have to shoot! Only shoot if they don’t cooperate!” (Hodierne, 2012, 00:01:41-00:01:47), blurring the lines between fiction and documentary and creating realism in the form of a pseudo-documentary, which encourages the audience to empathise with those who feel that they have no choice but to become a “hapless criminal” (Macaulay, 2012). Fishing Without Nets re-establishes the importance of modern piracy on the political agenda but challenges the status quo, with its pseudo-documentary style demonstrating how far the deliberate use of the issue as propaganda may be manipulated by the individual filmmaker.

Editing is also important in the films’ roles as propaganda, in conjunction with cinematography. In Kapringen, the camerawork lends a sense of reality to the narrative, following the characters in the office and on the MV Rosen in a disjointed and often shaky way. However, it is the way in which the takeover of the ship is filmed that highlights the experience of the hostages. Although the takeover is revealed via a phone call to the CEO of the shipping company, Peter Ludvigsen, and is never actually shown in the film, the treatment of those on the ship is depicted as chaotic, with the camera rapidly cutting from Hartmann’s face to their Somali captors, to a medium close-up of the captain being rushed away from the rest. The abrupt cut to the relative silence of the shipping company’s office demonstrates their distance from the events, as does the editing of the scenes in which the CEO negotiates via speakerphone – as mentioned above, these were filmed in real time. This starkly highlights the difference in the players’ perspectives in the drama but also draws attention to Lindholm’s subtle reference to money being worth more than human life. Similar techniques are used in Captain Philips.  Paul Greengrass is well known for using a handheld camera and a frenetic style that disorientates the audience, shown in The Bourne Supremacy (2004) and The Bourne Ultimatum (2007) (Buhler and Newton, 2015). In Captain Phillips, the editing serves to deliberately frame the pirates as the archetypal “bad guys”, promoting the “West versus the Other” formula that has often been associated with race, and perceived as a threat to a specific way of life (Newman, 1996), steering the audience away from any empathy towards the pirates. While the film is tonally very different to the others in this essay, particularly with its pro-US action movie third act (Bradshaw, 2013) and lack of left wing agenda discussed below, it demonstrates that similar techniques may result in radically different outcomes for an audience. How Captain Phillips himself is portrayed many reports suggest that he was far from the hero Tom Hanks portrayed (Child, 2013) – together with casting twenty-eight-year-old Barkhad Abdi as the supposed sixteen-year-old pirate leader Muse, infers that Greengrass is fulfilling his role as propagandist by glamourising the US Navy’s actions (Tunzelmann, 2017).

Sound and lighting are also important elements in presenting the films as propaganda and highlighting the directors’ objectives. For example, in Lindholm’s Kapringen, the juxtaposition of the old, poorly lit, rusty cargo ship and the modern, clean, and very bright offices in which the shipping company operates: the lighting highlights the difference in status between the two groups and frames the experiences of negotiation appropriately, casting the rich in control whilst workers are left to suffer as a result of corporate unwillingness to prioritise the crew over deals. Sound, on the other hand, is used very effectively by Hodierne in Fishing Without Nets to draw attention to the gulf between the Somali fishermen and those profiting from the cargo ships. The opening shot of Fishing Without Nets, for example, is a long range shot that pans around the cargo ship, framing its stature against the backdrop of the horizon and providing an ominous hint of what is to come as a result of the strong, loud, and extremely tense notes of the soundtrack. Similar music is played over the transportation of the character Abdi through the streets, which highlights the abject poverty in which they live. The cinematic language of both films here can broadly be considered to bear a left-wing agenda, specifically in that they lend proper representation to the disempowered by providing an interpretation of actuality (Wells, 2012).

In conclusion, the analysis within this essay points to three specific films and by extension, the directors responsible for them, constituting propaganda that is designed to alert their audiences to the problems and issues surrounding modern piracy and the general Western attitude to humanity. Each of the three movies clearly adopts a different position in relation to the factors that underpin piracy and the perspective that is presented, clearly supplemented by carefully choreographed cinematography and judicious editing. For example, the juxtaposition of the MV Rosen and the offices in Kapringen is effective in highlighting the prioritisation of money over human life, whereas the framing of the narrative in Fishing Without Nets highlights the plight of the Somalis and the reasons why they pursue piracy as a valid course of action. The cinematic language and techniques used emphasise the need to approach piracy in disparate ways; each film pursues a specific agenda that calls on the political establishment to take what they deem appropriate courses of action. In all three films, Lindholm, Hodierne, and Greengrass have carefully constructed their cinematic products to influence public opinion on the topic of modern piracy and by extension, Western attitudes to humanity and money, encouraging viewers to think about piracy in very specific ways that point back to those in power.

Bibliography

Bakke, G. (2017). Continuum of the Human. [online] Academia.edu. Available at: http://www.academia.edu/763379/Continuum_of_the_Human [Accessed 26 Apr. 2017].

Barnes, H. and Shoard, C. (2013). Captain Phillips: Director Paul Greengrass on his thriller starring Tom Hanks – video interview. The Guardian. [online] Available at: https://www.theguardian.com/film/video/2013/oct/16/captain-phillips-paul-greengrass-tom-hanks-video-interview [Accessed 11 Feb. 2017].

Bradshaw, P. (2013). Captain Phillips – review. The Guardian. [online] Available at: https://www.theguardian.com/film/2013/oct/17/captain-phillips-review [Accessed 11 Feb. 2017].

Callahan, M. (2013). Crew members: ‘Captain Phillips’ is one big lie. [online] Available at: http://nypost.com/2013/10/13/crew-members-deny-captain-phillips-heroism/ [Accessed 11 Feb. 2017].

Captain Phillips. (2013). Directed by P. Greengrass.

Child, B. (2013). Captain Phillips ‘no hero’ in real life, say ship’s crew. The Guardian. [online] Available at: https://www.theguardian.com/film/2013/oct/14/captain-phillips-tom-hanks-real-life-no-hero [Accessed 11 Feb. 2017].

Coughlan, S. and BBC (2006). Rise of modern-day pirates. BBC Magazine. [online] Available at: http://news.bbc.co.uk/1/hi/magazine/5146582.stm [Accessed 21 Feb. 2017].

Cousins, M. (2015). The story of Film. 2nd ed. London: Pavilion.

Doughty, R. and Etherington-Wright, C. (2011). Understanding film theory: Theoretical and critical perspectives. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.

Fishing without Nets. (2014). Directed by C. Hodierne.

Howden, D. (2013). A true-life tale of injustice left trailing in captain Phillips’ wake. The Guardian. [online] Available at: https://www.theguardian.com/world/2013/oct/24/somalia-pirate-film-captain-phillips [Accessed 11 Feb. 2017].

Jallaabasho shabaq la’aan. (2012). Directed by C. Hodierne.

Kapringen. (2013). Directed by T. Lindholm.

Lindholm, T. (2013). Kapringen. [online] Available at: http://www.imdb.com/title/tt2216240/?ref_=tttr_tr_tt [Accessed 19 Feb. 2017].

Macaulay, S. (2012). Cutter Hodierne | Filmmaker Magazine. [online] Filmmaker Magazine. Available at: http://filmmakermagazine.com/people/cutter-hodierne/#.WWOJmROGPMU [Accessed 10 Jul. 2017].

 Newman, K., (1997). Exploitation and the Mainstream. In G. Nowell-Smith ed. The Oxford History of World Cinema. Oxford: Oxford University Press, pp. 509-515.

.Olsen, M. and Times, L. (2013). ‘A hijacking’ blurs line between fiction, reality. [online] Available at: http://articles.latimes.com/2013/jun/23/entertainment/la-et-mn-ca-indie-focus-hijacking20130623 [Accessed 22 Feb. 2017].

Oxford Dictionaries | English. (2017). propaganda – definition of propaganda in English | Oxford Dictionaries. [online] Available at: https://en.oxforddictionaries.com/definition/propaganda [Accessed 10 Jul. 2017].

En.wikipedia.org. (n.d.). Richard Phillips (merchant mariner). [online] Available at: https://en.wikipedia.org/wiki/Richard_Phillips_(merchant_mariner) [Accessed 10 Jul. 2017].

 Richardson, J., Herzog, A., Vernallis, C., Newton, A. and Buhler, J. (2015). The Oxford Handbook of sound and image in digital media. New York, NY, United States: Oxford University Press.

Thompson, K. and Bordwell, P. (2016). Film art: An introduction. 1st ed. United States: McGraw Hill Higher Education.

Thomson, D. (2014). The New Biographical Dictionary Of Film 6th Edition. 6th ed. Abacus.

Tunzelmann, A. (2017). Captain Phillips proves that America is awesome. Got it? Awesome!. [online] the Guardian. Available at: https://www.theguardian.com/film/2013/oct/23/captain-phillips-america-awesome-tom-hanks [Accessed 10 Jul. 2017].

Villarejo, A. (2013). Film studies: The basics. London, United Kingdom: Routledge.

Wells, P., (2012). The Language of Animation. In J. Nelmes ed. Introduction to Film Studies. Abingdon: Routledge.

Demonstration of subject-based knowledge and understanding.

Following on from the brutally honest feedback on assignment 2, took a long hard look at this piece of work and the research and analysis I was doing (not to mention the writing style which I will cover later).

I feel with the assignment I have covered off the relevant points, comparing the film in relation how each film uses the grammar of film in different ways for the filmmaker to get their differing points of views across. I was engaged throughout this project, the exercises lead me to a better understanding of the physical grammar of cinema as opposed to just focus on the story and how it portrayed, written and the symbolism it can show e.g. analysing how for example A Hijacking (2012) was edited juxtaposing the bright offices and the ship to illustrate the gulf in wealth and how big business prioritises money over life.

Demonstration of research skill

Following on from the advice from my tutor, I have used a range of resources and explicitly referenced them in the bibliography and throughout the text on this occasion. This in my eyes a vast improvement on assignment two which was very poorly referenced and lead to issues where it did not look like I had researched my ideas at all.

Demonstration of critical and Evaluation skills

There is a much clearer structure to my ideas and thoughts in this essay and I have tried to develop a few ideas for the essay, referencing back to the main title and the wider reading and the points covered by the films. I have perhaps concentrated mainly on A Hijacking and Fishing without Nets (2012) playing only passing lip service to Captain Philips (2013); the ideas that this film brings to the table could I feel be added in a longer essay to add it here may dilute the quality and I stand by that decision.

Communication

Finally, I feel that this with essay if nothing else I have communicated myself with more clarity and professionalism. I have been highly detailed with my proofreading for spelling, grammar and structuring errors. Again this in response to brutal critique on previous assignments and reference to addition books reading on how to write for academic purposes

Modern piracy has been a global issue since the turn of the 21st century as a direct result of the rise in sophisticated, organised groups of pirates attacking ships off the coast of Africa, Asia, and to a lesser extent, South America; holding crews for ransom or taking valuable cargo that is subsequently sold to buyers in pre-arranged agreements (BBC and Coughlan, 2006). This type of piracy is vastly different from the swashbuckling heroic pirate that has traditionally been played by Errol Flynn on film and more recently, had been revived by Johnny Depp as Captain Jack Sparrow in Disney’s Pirates of the Caribbean franchise. However, in examining such traditional representations of piracy on the high seas, Understanding Film Theory 2011 states: “These popular narratives have an underlying moral message. All swashbuckling stories expose the dangers of an all-powerful elite class, which given free rein tyrannises and exploits the less fortunate for materialistic gain” (Etherington-Wright and Doughty, 2011, p. 35). While modern piracy is less glamorous than that shown by Errol Flynn, does it give the filmmaker a platform in their role of propagandist to challenge the political establishment in the same way?

Propaganda is biased by nature, and is used to promote a specific point of view. This essay will analyse the points of view that are conveyed in three films: Tobias Lindholm’s Kapringen (A Hijacking) (2012); Cutter Hodierne’s Fishing Without Nets (2012); and Paul Greengrass’s Captain Phillips (2013). It will examine how the directors may be considered propagandists with a view to assessing the theory that their cinematic products seek to influence public opinion on a topic – in this case modern piracy – projecting the narrative from specific perspectives in order to encourage the audience to think about piracy in very specific ways.

The cinematography of all three movies actively reinforces the directors’ perspectives. Taking Lindholm’s Kapringen first, it is important to note that it was actually shot on a genuine cargo ship, the MV Rozen, that was hijacked off the coast of Somalia in order to establish a realistic environment for the narrative. Also, the telephone conversations between Omar and Peter Ludvigsen were filmed with the actors in Kenya and Demark respectively, again to help with realism and tension. (Times and Olsen, 2013)

The opening scene maximises the impact of the authenticity it provides by framing the character Hartmann against the open sea while he is on the phone to his family. There are several medium close-up shots of him in a similar vein that serve to present him as the main protagonist, whilst drawing attention to the juxtaposition of his life at sea and that with his family, therefore promoting his humanity. Although this introduces the character, it also frames the narrative by providing an environment in which neither the pirates nor the captives are in their own spatial field, instead framing them as displaced (Villarejo, 2013). This actively reinforces the power that those in the office have over the fate of all those on board, and highlights the function of the movie as propaganda.

On the other hand, the cinematography in Hodierne’s Fishing Without Nets deliberately forces a shift in the discussion of modern piracy, presenting it through the eyes of the pirates, who also happen to be poor Somali fishermen with limited prospects and no other way of making a living. In fact, the narrative introduces the pirates from the outset, initially placing them in a small boat with guns that are dwarfed by the size of the ship, before bringing them back to their natural environment. Although the initial shots are cinematic, it appears that the pirates are being interviewed for a documentary as a result of the medium close-up and the way in which they speak to camera. This is juxtaposed with an unsteady camera that follows them to the ship in the next scene. It is also supported by narration from the pirates, who discuss strategy and why they do what they do: “We don’t have to shoot! Only shoot if they don’t co-operate!” (Hodierne, 2012). Using a range of camera angles and shots provides a realism that emphasises the reality of those who feel that they have no choice but to become a “hapless criminal” (Byer et al., 2017). This re-establishes the importance of modern piracy on the political agenda but challenges normal perceptions, thus demonstrating how far the deliberate use of the issue as propaganda may be manipulated by the individual filmmaker.

Editing is also important in the films’ roles as propaganda in conjunction with cinematography. In Kapringen, the camerawork lends a sense of reality to the narrative, following the characters in the office and on the Rosen in a disjointed and often shaky way. However, it is the way in which the takeover of the ship is filmed that highlights the experience of the hostages. Although the takeover is revealed via a phone call to the CEO of the shipping company, Peter Ludvigsen, and is never actually shown in the film, the treatment of those on the ship is depicted as chaotic, with the camera rapidly cutting from Hartmann’s face to their Somali captors, to a medium close-up of the captain being rushed away from the rest. The abrupt cut to the relative silence of the shipping company’s office demonstrates their distance from the events, as does the editing of the scenes in which the CEO negotiates via speakerphone – as mentioned above, these were filmed in real time. This starkly highlights the difference in the players’ perspectives in the drama but also draws attention to Lindholm’s subtle reference to money being worth more than human life.

A similar technique is used in Captain Phillips. Paul Greengrass is well known for using a handheld camera and a frenetic style that disorientates the audience (Buhler and Newton, 2015, pp. 325–349). However in Captain Phillips, the editing serves to deliberately frame the pirates as the archetypal “bad guys”, promoting the West versus the Other formula that has often been associated with race, and perceived as a threat to a specific way of life (Newman, 1996 pp 509-515). Although tonally, Captain Philips is much different, particularly with its pro-US action movie third act (Bradshaw, 2013); it still demonstrates that similar techniques may result in radically different outcomes for an audience, and together with how Captain Phillips himself is portrayed, compared to the many reports that he was far from the hero Tom Hanks portrayed (Child, 2013), it cements Greengrass’ role as a propagandist.

Sound and lighting are also important elements in presenting the films as propaganda and highlighting the directors’ objectives. For example, in Lindholm’s Kapringen, the juxtaposition of the old, poorly lit, rusty cargo ship and the modern, clean, and very bright offices in which the shipping company operates. The lighting highlights the difference between the statuses of the two groups and frames the experiences of negotiation appropriately, casting the rich in control whilst workers are left to suffer as a result of their unwillingness to prioritise them over deals. Sound, on the other hand, is used very effectively by Hodierne in Fishing Without Nets to draw attention to the gulf between the Somali fishermen and those profiting from the cargo ships. The opening shot of Fishing Without Nets, for example, is a long range shot that pans around the cargo ship, framing its stature against the backdrop of the horizon and providing an ominous hint of what is to come as a result of the strong, loud, and extremely tense notes of the soundtrack. Similar music is played over the transportation of the character Abdi through the streets, which highlights the abject poverty they live in. The cinematic language of both films here can broadly be considered to bear a left-wing agenda, specifically in that they lend proper representation to the disempowered by providing an interpretation of actuality (Wells, 2012, pp. 229–260)

In conclusion, the analysis within this essay points to three specific films and by extension, the directors responsible for them, constituting propaganda that is designed to alert their audiences to the problems and issues surrounding modern piracy and the general Western attitude to humanity. Each of the three movies clearly adopts a different position in relation to the factors that underpin piracy and the perspective that is presented. However, this is clearly supplemented by carefully choreographed cinematography and well thought-out editing. For example, the juxtaposition of the Rosen and the offices in Kapringen is effective in highlighting the prioritisation of money over human life, whereas the framing of the narrative in Fishing Without Nets highlights the plight of the Somalis and the reasons why they pursue piracy as a valid course of action. The cinematic language and techniques used emphasise the need to approach piracy in disparate ways; each film pursues a specific agenda that calls on the political establishment to take what they deem appropriate courses of action and in all three films, the West’s general attitude to humanity is generally condemned. Lindholm, Hodierne, and Greengrass have carefully constructed their cinematic products to influence public opinion on the topic of modern piracy and by extension, Western attitudes to humanity and money, encouraging viewers to think about piracy in very specific ways that point back to those in power.

Bibliography

BBC and Coughlan, S. (2006) Rise of modern-day pirates. Available at: http://news.bbc.co.uk/1/hi/magazine/5146582.stm (Accessed: 21 February 2017).

Bradshaw, P. (2013) Captain Phillips – review. Available at: https://www.theguardian.com/film/2013/oct/17/captain-phillips-review (Accessed: 11 February 2017).

Buhler, J. and Newton, A. (2015) The Oxford handbook of sound and image in digital media. Edited by Carol Vernallis, Amy Herzog, and John Richardson. New York, NY, United States: Oxford University Press.

Byer, A., Dawson, N., Macaulay, S., Lab, M.O.D., Harris, B., Murie, M. and Webmaster (2017) Cutter Hodierne. Available at: http://filmmakermagazine.com/people/cutter-hodierne/#.WKmavxKGPMU (Accessed: 22 February 2017).

Callahan, M. (2013) Crew members: ‘Captain Phillips’ is one big lie. Available at: http://nypost.com/2013/10/13/crew-members-deny-captain-phillips-heroism/ (Accessed: 11 February 2017).

Child, B. (2013) Captain Phillips ‘no hero’ in real life, say ship’s crew. Available at: https://www.theguardian.com/film/2013/oct/14/captain-phillips-tom-hanks-real-life-no-hero (Accessed: 11 February 2017).

Etherington-Wright, C. and Doughty, R. (2011) Understanding film theory: Theoretical and critical perspectives. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.

Captain Phillips (2013) Directed by Paul Greengrass .

Fishing without Nets alt. title Jallaabasho shabaq la’aan (2012) Directed by Cutter Hodierne .

Howden, D. (2013) A true-life tale of injustice left trailing in captain Phillips’ wake. Available at: https://www.theguardian.com/world/2013/oct/24/somalia-pirate-film-captain-phillips (Accessed: 11 February 2017).

Lindholm, T. (2013a) Kapringen. Available at: http://www.imdb.com/title/tt2216240/?ref_=tttr_tr_tt (Accessed: 19 February 2017).

Kapringen (2013b) Directed by Tobias Lindholm .

Newman, K. (1996) The Oxford history of world cinema. Edited by Geoffrey Nowell-Smith. New York: Oxford University Press.

Richard Phillips (merchant mariner) (2016) in Wikipedia. Available at: https://en.wikipedia.org/wiki/Richard_Phillips_(merchant_mariner) (Accessed: 11 February 2017).

Shoard, C. and Barnes, H. (2013) Captain Phillips: Director Paul Greengrass on his thriller starring Tom Hanks – video interview. Available at: https://www.theguardian.com/film/video/2013/oct/16/captain-phillips-paul-greengrass-tom-hanks-video-interview (Accessed: 11 February 2017).

Times, L.A. and Olsen, M. (2013) ‘A hijacking’ blurs line between fiction, reality. Available at: http://articles.latimes.com/2013/jun/23/entertainment/la-et-mn-ca-indie-focus-hijacking20130623 (Accessed: 22 February 2017).

Villarejo, A. (2013) Film studies: The basics. London, United Kingdom: Routledge.

Wells, P. (2012) Introduction to film studies. Edited by Jill Nelmes. 5th edn. London, United Kingdom: Routledge.

Citations, Quotes, & Annotations

BBC and Coughlan, S. (2006) Rise of modern-day pirates. Available at: http://news.bbc.co.uk/1/hi/magazine/5146582.stm (Accessed: 21 February 2017).

Bradshaw, P. (2013) Captain Phillips: Review. Available at: https://www.theguardian.com/film/2013/oct/17/captain-phillips-review (Accessed: 11 February 2017).

Buhler, J. and Newton, A. (2015) The Oxford handbook of sound and image in digital media. Edited by Carol Vernallis, Amy Herzog, and John Richardson. New York, NY, United States: Oxford University Press. pp. 325–349

Byer, A., Dawson, N., Macaulay, S., Lab, M.O.D., Harris, B., Murie, M. and Webmaster (2017) Cutter Hodierne. Available at: http://filmmakermagazine.com/people/cutter-hodierne/#.WKmavxKGPMU (Accessed: 22 February 2017).

Callahan, M. (2013) Crew members: ‘Captain Phillips’ is one big lie. Available at: http://nypost.com/2013/10/13/crew-members-deny-captain-phillips-heroism/ (Accessed: 11 February 2017).

Child, B. (2013) Captain Phillips ‘no hero’ in real life, say ship’s crew. Available at: https://www.theguardian.com/film/2013/oct/14/captain-phillips-tom-hanks-real-life-no-hero (Accessed: 11 February 2017).

Etherington-Wright, C. and Doughty, R. (2011) Understanding film theory: Theoretical and critical perspectives. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan. p. 35

Captain Phillips (2013) Directed by Paul Greengrass.

Fishing Without Nets (alt title Jallaabasho shabaq la’aan) (2012) Directed by Cutter Hodierne .

Howden, D. (2013) A true-life tale of injustice left trailing in captain Phillips’ wake. Available at: https://www.theguardian.com/world/2013/oct/24/somalia-pirate-film-captain-phillips (Accessed: 11 February 2017).

Kapringen (2013) Directed by Tobias Lindholm .

Newman, K. (1996) The Oxford history of world cinema. Edited by Geoffrey Nowell-Smith. New York: Oxford University Press. pp. 509–515

Richard Phillips (merchant mariner) (2016) in Wikipedia. Available at: https://en.wikipedia.org/wiki/Richard_Phillips_(merchant_mariner) (Accessed: 11 February 2017).

Shoard, C. and Barnes, H. (2013) Captain Phillips: Director Paul Greengrass on his thriller starring Tom Hanks – video interview. Available at: https://www.theguardian.com/film/video/2013/oct/16/captain-phillips-paul-greengrass-tom-hanks-video-interview (Accessed: 11 February 2017).

Times, L.A. and Olsen, M. (2013) ‘A hijacking’ blurs line between fiction, reality. Available at: http://articles.latimes.com/2013/jun/23/entertainment/la-et-mn-ca-indie-focus-hijacking20130623 (Accessed: 22 February 2017).

Villarejo, A. (2013) Film studies: The basics. London, United Kingdom: Routledge.

Wells, P. (2012) Introduction to film studies. Edited by Jill Nelmes. 5th edn. London, United Kingdom: Ro