64 Ibid. In one telling quote, Simon reveals: ‘Compared to The Wire ’s Greek tragedy, “we’re really more in the Shakespearean construct of … The individual and the interior struggle for self. Macbeth and Hamlet and Lear and Othello. These are the great tragedies – the dramatic branch that leads to O’Neill and our modern theater. But I saw a version of Aeschylus’s The Persians done on the stage in Washington, and it made my jaw drop. They put it on during the height of the insurgency in Iraq – after that misadventure in Iraq had made itself apparent
production rather than that hand-to-mouth practice evoked by Third Cinema’s theorists. This relative privilege can, at moments, be detected in the text itself. Although the use of infra-red photography, for example, aptly suggests at the narrative level an operation of insurgent counter-surveillance, it also cannot help but speak at the formal level of the filmmakers’ technological advantages.
Terms of economic and cultural trade favourable to the West are most apparent when considering the film’s very subject matter. Winterbottom, Grisoni and their UK