Straight from the Small Screen- The Release of the Facebook Movie
Wednesday, September 29th, 2010Even before its release, on the 1st of October, the Facebook film; The Social Network has created a media hive of speculation, as it focuses on the creation of a site that is thought of as a global phenomenon in regards to web communication. Its tagline ‘You don’t get 500 million friends without making a few enemies’ highlights the sinister aspects that circulate on the site, as well as serving as an existing link to the fact that Facebook reached its 500th millionth user in July.
The movie is based on the book ‘The Accidental Billionaires’, which reveals how individuals accidentally stumble upon infinite gold mines, so to speak. The movie concentrates on the young Mark Zuckerberg and the first few turbulent years of Facebook’s conception, recounted in a series of courtroom flashbacks. Facebook is not portrayed entirely positively, together with Zuckerberg who commented; “I just wished that nobody made a movie of me while I was still alive”; his reaction communicates his belief of the media’s ability to alter perception, while holding back from a direct attack that could potentially cause more detriment to an already tarnished character.
Facebook has dismissed the movie as fiction, which is ironic in a sense as the site operates on that very basis; it is used as a tool in which we perform a digital transformation of ourselves, relying upon careful editing, where photographs are used to document the highlights in life but not normally the lowlights. A movie dedicated to social networking reveals how fanciful some of the elements can be, as friend lists become indicators of social worth and updates confirmation of an interesting life. Many portrayals online create enhanced versions of reality, including the creation of alter-egos, demonstrated by avatars which point towards insecurities, as we delete our shortcomings.
According to reviews, the plot captures emotion and betrayal; these elements can be seen clearly as a presence laid out on the digital profiles of Facebook, as the development of relationships are played out in front of an audience. The notion of a film’s captive audience translates directly to the workings of Facebook, which creates a digital stage of sorts, on which real life dramas are played out in front of an eager audience. However, the difference is that Facebook allows interaction, so that an individual can become part of the action.
The Social Network is from the director David Fincher who is known for his dark films and although the content is not driven by sweetness and light, there are flourishes of humour that separate it from other Fincher films, such as Se7en, the Panic Room and Fight Club. An instant injection of cool is administered through the portrayal of Napster founder Sean Parker, played by Justin Timberlake; the film’s edgy feel is also reiterated by the Hollywood comments of actor Kevin Spacey, who described the film as a “great story for people that don’t really know how it happened. Very filmic, very modern, very cool”.
This is the first genre of its kind. It is surprising that the concept has not been made into a movie sooner; in a society where news stories, such as the murder of Meredith Kurtcher are controversially snapped up as a cinematic opportunity; the comparatively mild media of Facebook seems to have been left to simmer. However, with a guaranteed interest of half a billion people, who are users as well as the extension of people who know a user and few signs of waning interest, now seems the perfect time to capitalise further upon the global sensation. Just as an insatiable curiosity fuels Facebook, so does it work to attract a loyal fan base to the box office.