The Making of 'Close Encounters of the Third Kind'
2001
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Diversity score: 2.2 out of 10
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The Making of 'E.T. the Extra-Terrestrial'
1996
NRDirector
Laurent Bouzereau
Runtime
91 minutes
Average Rating
No ratings yetSynopsis
A behind-the-scenes documentary about the making of Steven Spielberg's 1982 film "E.T. the Extra-Terrestrial."
Where to Watch
Diversity & Representation
Overall Score
3.3/10
Limited
Category Breakdown
LGBTQ+ Representation
The documentary focuses on technical and logistical filmmaking aspects like puppetry and special effects. It contains no LGBTQ+ character narratives or themes of non-cisnormative identity.
Gender Representation
The film reflects the traditional industry hierarchies of the early 1980s. It centers on Spielberg's vision and male-dominated technical departments, lacking a deconstruction of gendered power dynamics.
Racial & Ethnic Diversity
The footage primarily features a predominantly white creative and technical crew. It reflects the demographic composition of a 1982 Hollywood production without highlighting intersectional perspectives.
Religious & Cultural Diversity
The narrative celebrates traditional Hollywood craftsmanship and Western cinematic achievement. It does not engage with anti-Western critiques or diverse cultural perspectives outside the studio system.
Disability Representation
The film uses the E.T. character as a metaphor for being an outsider. However, this is framed through science fiction effects rather than nuanced explorations of human disability.
Strengths
- Provides a detailed look at the technical craftsmanship and special effects used in a landmark science fiction film.
- Offers valuable historical preservation of the creative decisions made during a seminal era of Hollywood production.
Areas for Improvement
- Lacks exploration of diverse social identities or intersectional perspectives within the production history.
- Does not address gendered power dynamics or the lack of diversity in the technical departments of the era.
AI Analysis
This documentary serves as a technical archive of cinematic history rather than a study of social identity. It prioritizes the mechanics of production, such as special effects and directing, over the exploration of diverse human experiences. The content reflects the era of the original film's production, showcasing a Hollywood landscape dominated by traditional hierarchies and Western storytelling archetypes. Consequently, the representation of various identities remains limited by the film's focus on technical craftsmanship. Ultimately, the work functions as a pedagogical tool for film historians. It documents the legacy of a major studio production without interrogating systemic social structures or promoting progressive identity politics.
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