The Prisoner struck me for many reasons. Primarily, though I was struck by the setting of the film. Unlike most of the other films we’ve watched in class all year that portrayed an idyllic country setting that was often indistinguishable, The Prisoner had a distinct setting and would not have worked anywhere else. It is interesting to note that many other films we’ve watched have had specific urban locations, although the country locations are often not indistinguishable from one another (at least through the eyes of the Western viewer).

What struck me the most, however, was the comparison I was able to make to American prisoner of war films, where the location is almost always secondary. Most stories would easily be understandable in any location, whether it be parts of Europe or the Middle East. The Prisoner stands out because it relies so heavily on scenery.

  1. Arlene’s avatar

    Here at the symposium we’ve been discussing the differences between contemporary American and Russian war films. More on Tuesday.


  2. Kristen Twardowski’s avatar

    I was so excited by the setting. The emphasis on the lack of vegetation and the focus on the cracks in the ground all emphasized that Chechnya is not like Russia. There wasn’t a pear tree/apple tree/choose-your-fruit tree in sight. (The director still managed to get a water shot in, which I found highly amusing. Russians and water seem to have some strange otherworldly relationship that I don’t quite understand.) The film definitely focused on a very specific conflict that occurred in a very specific place..


  3. gee’s avatar

    I have to admit I really did find the setting very interesting. The film set Chechneya very much apart from what we’ve seen in other films set in the country