Abstract
Moviemaker Oliver Stone has repeatedly drawn upon historical events and real people to inform his cinematic narratives. Salvador (1986) dealt with the El Salvador civil war in which the United States supported the right-wing military against peasant revolutionaries; the trilogy of Platoon (1986), Born on the Fourth of July (1989), and Heaven and Earth (1993) explored America’s war in Vietnam; The Doors (1991) was a biopic of rock star Jim Morrison; and Comandante (2003) and Looking for Fidel (2004) were documentary portrayals of Cuban leader Fidel Castro. Operating in a fuzzy hinterland between fiction and truth, each of these films interwove drama with documentary realism and history with cinematic memory, but did not draw precise boundaries between these different movie elements.
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