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	<title>Entertainment &#187; Kharunya Paramaguru &#124; TIME.com</title>
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		<title>Entertainment &#187; Kharunya Paramaguru &#124; TIME.com</title>
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		<title>Behind the Story: TIME&#8217;s Jessica Winter on Kathryn Bigelow and Zero Dark Thirty</title>
		<link>http://entertainment.time.com/2013/01/25/behind-times-cover-story-kathryn-bigelow-zero-dark-thirty-and-the-mounting-torture-debate/</link>
		<comments>http://entertainment.time.com/2013/01/25/behind-times-cover-story-kathryn-bigelow-zero-dark-thirty-and-the-mounting-torture-debate/#comments</comments>
		<pubDate>Fri, 25 Jan 2013 12:45:35 +0000</pubDate>
		<dc:creator>Kharunya Paramaguru</dc:creator>
				<category><![CDATA[Movies]]></category>
		<category><![CDATA[CIA]]></category>
		<category><![CDATA[Kathryn Bigelow]]></category>
		<category><![CDATA[movie]]></category>
		<category><![CDATA[osama bin laden]]></category>
		<category><![CDATA[Torture]]></category>
		<category><![CDATA[Zero Dark Thirty]]></category>

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		<description><![CDATA[Zero Dark Thirty, Kathryn Bigelow’s thriller about the CIA’s hunt for Osama bin Laden, has received acclaim and condemnation in almost equal measures since its first public screenings in December. Most critics have praised Bigelow’s skills as a filmmaker and have described the movie—which Bigelow has presented as a “reported film”—as deeply compelling. But some of those critics have also decried the film for suggesting that the CIA’s torture of prisoners produced information that directly led to the killing of bin Laden. Some senators, government officials, terrorism experts and human rights campaigners have leveled similar accusations at Bigelow and the film&#8217;s screenwriter, journalist Mark Boal, who also wrote Bigelow’s Oscar-winning feature The Hurt Locker. TIME’s Culture editor, Jessica Winter, interviewed Bigelow for this week’s magazine cover story (available to subscribers here). TIME spoke with Winter to get the story behind the story. (MORE: Cover Story: Kathryn Bigelow&#8217;s Art of Darkness) Kathryn Bigelow told you that someone going to see a movie, unlike someone who visits an art gallery, doesn’t need to have as much information beforehand for it to be accessible. But with a film that deals with such a complex, emotive and disputed history as the hunt for Osama bin Laden, does that really apply? Zero Dark Thirty is certainly more accessible than, say, a Senate intelligence report, simply because it’s a riveting, beautifully made movie with excellent performances that’s likely playing at your local multiplex, if you’re in America. But applying critical-thinking skills to something like a docudrama requires a baseline of information and knowledge, and if you don’t have that, you’re more likely to take what you see at face value. Most moviegoers understand that most or all films that are based on true events take all kinds of liberties—with facts, chronologies, composite characters—and I think that they’re smart enough to do their own homework. Just anecdotally, I know a lot of people who’ve been moved to read up on the facts behind Zero Dark Thirty so that they can have an informed take on the debate<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3528643&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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