FTM-102 Week 10 - Lecture notes 10 PDF

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Documentary The creative treatment of actuality Documentary Modes Poetic mode is characterized by qualities of fragmentation, emotionalism, expressiveness and ambiguity. Narrative is unimportant; continuity editing is sacrificed in favor of impressionism. (Ex: Listen to Britain; the “city symphony” films; Werner Herzog) Expository mode AKA “Classical Documentary.” It has the purpose of disseminating information or to persuade. Images and footage are used to strengthen spoken narrative. A common feature is an authoritative voice-over (“Voice of God”) as used in news and TV programs, or “Talking Head” interviews (Ex: Ken Burns ”pan and scan” films; WWII propaganda films : Why We Fight) Observational mode chronicle a scene as it occurs. Seeking to be objective, the unobtrusive camera takes on the role of the audience, watching and observing the action. (Ex: “Fly-on-the-wall” Direct Cinema) Participatory mode (AKA Interactive) relies on interviews, considering them to be a credible source of knowledge about the subject. As opposed to the observational, in participatory mode the filmmaker interacts with their subjects (Ex: Cinema Verite in France, the films of Michael Moore) Reflexive mode focuses on the act of filming to apprise the viewer of the filmmaking process. An example is when one camera films a recording session taken by another camera. (Ex: Dziga Vertov, Man With a Movie Camera; Five Broken Cameras) Performative mode being subjective and highly personal (as opposed to the participatory mode). Performed acts with an emotional intensity or uniqueness of vision are recorded to express the director’s or the subjects’ personal vision or enhance the narrative. (The work of Jonas Mekas; Tarnation (2003)...