ABSTRACT
This chapter explores various sociomythological themes and their constructions in The Doors, Salvador, and Talk Radio. All three films reflexively ruminate on the artist-visionary's responsibility to take a stance on issues of sociopolitical importance. Carolco Company approached Stone to direct a filmed version of The Doors after having bought the rights to the band's story and music. The Doors ends with a slow pan of Pere Lachese cemetery in Paris where Morrison is buried. Characterized as Stone's "breakthrough" film, Salvador was likened to such films about the political situation in Latin America as Missing, set in Chile, and Under Fire, set in Nicaragua. Salvador's film style is not only a metaphor for our experience of the film; it is also a glimpse of Stone's view of the artist-filmmaker's role in society. Talk Radio seems to imply that America may be so far gone that it is beyond salvation.
