documentary modes May 25, 2011

Expository Observational Interactive

ReflexivePoetic Performative

Hoop Dreams (James et al, 1994) Être et Avoir (Philibert, 2002) Capitalism: A Love Story (Moore, 2009)

Capturing the Friedmans (Jarecki, 2005)Touching the Void (McDonald, 2002) Olympia (Leni Riefenstahl , 1938)

Man of Aran (Robert Flaherty, 1934) Night and Fog (Resnais, 1955)

Similarities/Differences?

Explain each mode in one sentence

Spectator reactions

The Solitary Life of Cranes

(Eva Weber, 2008)

documentary modes May 25, 2011

Kurt & Courtney (Broomfield, 1998)

1:26

How does Broomfield help us to identify with his actions in this sequence?

Could what happens in this sequence be considered 'real' - how does it shape our reactions?

How important is it that we see Broomfield as the hero and Courtney Love as the villain?

Broomfield at ACLU meeting

Touching the void (McDonald, 2002)

What micro devices does McDonald employ to show the spectator Joe Simpson's state of mind?

To what extent might this be considered unrealistic?

What secures this clip as a piece of documentary?

How does this climatic sequence shape how we feel about Joe?

What does the non-fiction film offer the spectator in

terms of pleasure?

Responses to a film can be based on a range of different aspects of self.

These can influence reactions to film in terms of how pleasurable we find the film.

Cultural self(makes

intertextual references, e.g.

recognising pieces of music)

Private self(carries the memories

of their own experience and finds personal significance

in films.)

Desiring self(brings conscious/

unconscious energies to the film that have little to do with the

content, e.g.reacting emotionally)