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Film 128

Midterm

QuestionAnswer
Point-Of-View Personal voice, the voice of the documentary. What the film is addressing, it's stance on the issue.
Indirect Address Disembodied Editing choices, camera movement, composition. Formal elements of the film determine what this will be.
Direct Address Disembodied Voice over, voice of god. Narration.
Indirect Address Embodied Observational mode, follows social actors.
Direct Address Embodied An expert within the frame of the film, the social actor is visible.
Interview Journalist sits with expert or non expert to gain information in order to convey the voice of the film. Judicial practice.
Testimony introduction of how knowledge, act of speaking this that begins to reveal something not known before, often spontaneous. Shoah is an example of this.
Confession Admission of something personal. About absolution, freeing oneself of the burden. Extremely private and personal, a kind of self performance.
Reflexivity Calls attention to assumptions and conventions that govern documentary making. Audience sees process of making film.
Scientific Inscription Image as scientific evidence. Observation is closely related to this, indexical quality of image makes strong argument for this.
Ethnography The scientific description of the customs of peoples and cultures.
Surrealism A 20th-century avant-garde movement in art and literature that sought to release the creative potential of the unconscious mind.
Anthropology The comparative study of human societies and cultures and their development.
Direct Cinema Hand held equipment, purely observational mode. “Tremendous effort” being in the right place at the right time. In 63 a conference of the new documentary, direct cinema was an American movement. Invisibility. Wiseman considered a poster boy.
Cinema Verite Chronicle of a Summer, film maker is always present within the frame. A very reflexive mode.
Observational Mode Emphasizes direct engagement with every life of subjects through use of un-obtrusive camera.
Participatory Mode Emphasizes the interaction between filmmaker and subject. Filming takes place by means of interviews or other forms of even more direct involvement from conversations to provocations.
Poetic Mode Emphasizes visual associations, tonal or rhythmic qualities, descriptive passages, and formal organization.
Expository Mode Emphasizes verbal commentary and an argumentative logic.
Reflexive Mode Calls attention to the assumptions and conventions that govern documentary filmmaking. Increases our awareness of the constructedness of the film's representation of reality.
Performative Mode Emphasizes the subjective or expressive aspect of the filmmaker's own involvement with a subject. It strives to heighten the audience's responsiveness to this involvement. Rejects notions of objectivity in favor of evocation and affect.
Denotative Strict literal meaning of what is being said or seen.
Connotative What is not explicitly said, but the subtext, the meaning behind the subject matter.
Mythopoetic Raising the events of everyday life to the level of myth or legend by recording them through the camera apparatus or writing poetry.
Ineffability Incapable of being expressed; indescribable or unutterable.
Scientific Distance
Mythic impressionism
tactlessness - exploitation of subjects
Sync sound
Aristotle 2 types of evidence Inartistic or nonartificial proofs: appeal to feelings. Artistic or artificial proofs: amount to ideas an audience might already hold. 3 types Ethos: credible or ethical. Pathos: compelling or emotional. Logos: Convincing or demonstrative.
Memory: Enters in 2 ways Tangible memory theater: external, visible representation of what was said and done. Memory draws on what they have already seen to interpret what they presently see.
Created by: nkkennedy
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Voices

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