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Propaganda film “The Hunting Ground” was nominated for two Emmy’s this year: Exceptional merit in documentary filmmaking and outstanding original music and lyrics.

It’s title song, “Till It Happens to You,” won an Emmy. That’s more of an award for Lady Gaga, who performed the song, and Diane Warren, who wrote the music and lyrics, than for the filmmakers. But they can still say now that they’re an “Emmy award-winning documentary.”

They did not, however, win for exceptional merit in documentary filmmaking. A&E’s “Cartel Land” and HBO’s “Jim: The James Foley Story” won that honor.

The song was also nominated for an Academy Award earlier this year, but lost. (Lady Gaga still performed the song at the ceremony, where she pushed the dubious claim that one in five women will be sexually assaulted while in college. The film itself was not even nominated for the best documentary category.

I doubt members of the Hollywood elite care that the film pushes repeatedly debunked claims or, even worse, lionizes the stories of multiple women whose claims of sexual assault are highly suspect. But maybe that did have a hand in keeping this film from receiving awards for great documentary filmmaking.

The claim that the film, Lady Gaga, the Obama administration and countless other opportunists push that one in five women will be sexually assaulted in college is based off of severely flawed self-reported surveys. The women aren’t asked if they’re victims of sexual assault, because researchers have learned in the past that such a question reduces the number of people they can claim as victims.

Instead, they use broad definitions of sexual assault and harassment that include so many activities practically anyone in America could be considered guilty. When women who respond to these questions indicating they have at some point encountered sexual activity that was unwanted, the researchers asked them why they didn’t report. The overwhelming majority of these women say they didn’t report because the activity wasn’t serious enough. So the alleged victims themselves don’t see themselves as such.

But the myth continues.

The film pushes this myth as fact and goes from there. It features the claims of several women without giving any hint as to the other side of the story. If the filmmakers had bothered to verify the stories of these women instead of employing Rolling Stone-style journalism, they’d see that their “victims” might not be telling the truth.

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One accuser in the film, Kamilah Willingham, tells a story that makes it seem like she and her friend were raped by a man who was later allowed back onto Harvard University’s campus. But Willingham wasn’t a credible witness, as she claimed she found a bloody condom in her trash can that was used during the rape. The blood on the condom belonged to her, but was used by a man other than the one she accused.

The man she accused, Brandon Winston, was eventually found guilty in a court of law of “”misdemeanor touching of a nonsexual nature.” His actual crime appears to have been waking up a passed out woman to kiss her — a woman he had been kissing earlier in the night. Rude, perhaps, but hardly the sort of violence the documentary seeks to prove is endemic on college campuses.

The film also gives credence to Emma Sulkowicz, who accused Paul Nungesser of violently raping her (despite there being no evidence of the bruises she should have endured given the level of violence she claimed). Nungesser was found not responsible, but has been pilloried in the press as a rapist who got away, since no one initially bothered to verify her story. If they had, they would have discovered, as columnist Cathy Young did, that Sulkowicz had been sending Nungesser multiple love messages before and after the alleged violent rape.

Again, I doubt any of this mattered to narrative-loving Hollywood, but at least this film was snubbed once again from a category about well-made documentaries.

Ashe Schow is a commentary writer for the Washington Examiner.

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