Cinema and Human Rights - Media Literacy

8/7/2019 Cinema and Human Rights - Media Literacy

1/27

Media Literacy I:Media Literacy I:Socially CommittedSocially Committed

Documentaries in CloseDocumentaries in Close--UpUp

Cinema and Human RightsCinema and Human Rights

7 April 20117 April 2011

VreniVreni HockenjosHockenjos


2/27

When documentaries are at their best, a senseWhen documentaries are at their best, a senseof urgency brushes aside our efforts toof urgency brushes aside our efforts to

contemplate form or analyze rhetoric. contemplate form or analyze rhetoric.

Documentaries offer pleasure and appeal whileDocumentaries offer pleasure and appeal while

their own structure remains virtually invisible, theirtheir own structure remains virtually invisible, their

own rhetorical strategies and stylistic choices (go)own rhetorical strategies and stylistic choices (go)largely unnoticed. A good documentarylargely unnoticed. A good documentary

stimulates discussion about its subject, not itself.stimulates discussion about its subject, not itself.

This serves as many aThis serves as many a documentaristsdocumentarists motto, butmotto, but

it neglects to indicate how crucial rhetoric andit neglects to indicate how crucial rhetoric and

form are to the realization of this goal.form are to the realization of this goal.

Bill Nichols,Bill Nichols, Representing RealityRepresenting Reality(1991),(1991),

x.x.


3/27

I.I. What Is aWhat Is aDocumentary Film?Documentary Film?

II.II. Documentary ModesDocumentary Modesof Representationof Representation

III.III.

Ethical IssuesEthical Issues


4/27



III.III.

Ethical IssuesEthical Issues


5/27

FictionFiction DocumentaryDocumentary


6/27

FictionFiction= depicts a world= depicts a world

fabricated for thefabricated for the

screenscreen

oc entaroc entar= depicts a world that= depicts a world thate

ists independentle ists independentl

fro ca erafro ca era

(real life)(real life)


7/27

Documentary films areDocumentary films are

the more or less artfulthe more or less artful

reshaping of the historicalreshaping of the historicalworld.world.

John GriersonJohn Grierson,, documentary film pioneer (1898documentary film pioneer (1898--1972)1972)


8/27



9/27



10/27

My Brothers KeeperMy Brothers Keeper((JrgenJrgen FlindtFlindt Pedersen, 2008)Pedersen, 2008)


11/27

Surfs UpSurfs Up(Ash Brannon, Chris Buck 2007)(Ash Brannon, Chris Buck 2007)

http://youtu.be/MdLiL_XO6pU


12/27

Bowling for ColumbineBowling for Columbine(Michael Moore, 2002)(Michael Moore, 2002)

http://youtu.be/Fgn3J4u32hg


13/27

Location shootingLocation shooting

VoiceVoice--overover commentarycommentary

Use of nonUse of non--actorsactors

InterviewsInterviews

Use of name tagsUse of name tags

HandHand--held cameraheld camera Inclusion of found footage, documentsInclusion of found footage, documents etcetc

Typical CharacteristicsTypical Characteristics


14/27

On audioOn audio--track?track?

On videoOn video--track?track?

Individualized or Disembodied?Individualized or Disembodied?

Presence of the filmmaker?Presence of the filmmaker?


15/27



III.III. Ethical IssuesEthical Issues


16/27

Documentary Modes of RepresentationDocumentary Modes of Representation

Expository ModeExpository Mode

Observational ModeObservational Mode

Interactive or Participatory ModeInteractive or Participatory Mode Reflexive ModeReflexive Mode

Bill NicBill Nicholshols,, IntroductionIntroduction to Documentaryto Documentary

(2(2ndnd ed. 2010), 142ed. 2010), 142--212.212.


17/27

Works for the impression ofWorks for the impression of objectivityobjectivity

VoiceVoice--ofof--god commentarygod commentary

Overly didactic: Viewers are directly addressedOverly didactic: Viewers are directly addressed

Commentators/Filmmakers argument is dominant,Commentators/Filmmakers argument is dominant,

interviews and images are subordinatedinterviews and images are subordinated

Editing serves to establish and maintain rhetoricalEditing serves to establish and maintain rhetorical

continuity (rather than spatial or temporal)continuity (rather than spatial or temporal) Linear narrative pattern: causeLinear narrative pattern: cause effect, problemeffect, problem

solutionsolution

most common type of documentaries, typicalmost common type of documentaries, typical

television formattelevision format



18/27

Observes things as they happenObserves things as they happen

Stresses the nonintervention of the filmmaker: s/heStresses the nonintervention of the filmmaker: s/heis invisible & uninvolvedis invisible & uninvolved (Fly on the Wall)(Fly on the Wall)

Editing enhances impression of lived or real timeEditing enhances impression of lived or real timewith long takes & synchronous soundwith long takes & synchronous sound

In its purest form: no voiceIn its purest form: no voice--over commentary,over commentary,external music,external music, intertitlesintertitles, reenactments, or, reenactments, orinterviewsinterviews

Social actors are more engaged w/ themselves, doSocial actors are more engaged w/ themselves, do

not address cameranot address camera Aims at providing an insight into the livedAims at providing an insight into the lived

experiences of others.experiences of others.

Popular from the 1960s onwards thanks to lighter,Popular from the 1960s onwards thanks to lighter,easily portable camera equipment, Direct Cinemaeasily portable camera equipment, Direct CinemaMovementMovement



19/27

Filmmaker is very visible, openly interacts withFilmmaker is very visible, openly interacts withsocial actorssocial actors

Filmmaker addresses social actors rather thanFilmmaker addresses social actors rather than

viewersviewers Editing operates to maintain a logical continuityEditing operates to maintain a logical continuity

between individual viewpointsbetween individual viewpoints

Argument is not made explicitly but implicitlyArgument is not made explicitly but implicitlythrough selection and arrangement of scenesthrough selection and arrangement of scenes

Often unexpected juxtapositions, graphicOften unexpected juxtapositions, graphicintertitlesintertitles, unusual framings, contradictory, unusual framings, contradictorystatementsstatements

CinemaCinema VeritVerit MovementMovement

Participatory or InteractiveParticipatory or InteractiveModeMode


20/27

Focus lies on the process of representationFocus lies on the process of representationitself, offering a metaitself, offering a meta--commentary oncommentary on

documentary meansdocumentary means SelfSelf--conscious about form, style andconscious about form, style and

conventionsconventions

Emphasis is placed on relation filmmakerEmphasis is placed on relation filmmaker--viewerviewer

Reflexivity can be both formal and politicalReflexivity can be both formal and political DefamiliarizesDefamiliarizes other documentary modes:other documentary modes:

viewers expectviewers expect the unexpectedthe unexpected

Often in the tradition ofOften in the tradition of BrechtianBrechtianVerfremdungsVerfremdungs--effects (Alienation effects)effects (Alienation effects)

Reflexive ModeReflexive Mode


21/27

Documentary Modes of RepresentationDocumentary Modes of Representation



Interactive or Participatory ModeInteractive or Participatory Mode Reflexive ModeReflexive Mode

Bill NicBill Nicholshols,, IntroductionIntroduction to Documentaryto Documentary

(2(2ndnd ed. 2010), 142ed. 2010), 142--212.212.


22/27



III.III. Ethical IssuesEthical Issues


23/27

Filmmaker

FilmedSubjects Viewers


24/27

Filmmaker

FilmedSubjects Viewers


25/27

How may we represent orHow may we represent orspeak about others withoutspeak about others without

reducing them toreducing them to

stereotypes, pawns orstereotypes, pawns orvictims?victims?

Bill Nichols,Bill Nichols, Introduction toIntroduction to DocumentaryDocumentary,,

139.139.


26/27

Film still fromFilm still from Boca deBoca de LixoLixo (Eduardo(Eduardo CoutinhoCoutinho, 1993) in Michael, 1993) in Michael

ChananChanan,, The Politics of DocumentaryThe Politics of Documentary(2007).(2007).


27/27

But there is shame as well as shock in looking atBut there is shame as well as shock in looking atthe closethe close--up of real horror. Perhaps the onlyup of real horror. Perhaps the only

people with the right to look at images of sufferingpeople with the right to look at images of suffering

of this extreme order are those who could doof this extreme order are those who could do

something to alleviate itsomething to alleviate it say the surgeons at thesay the surgeons at the

military hospital where the photograph was takenmilitary hospital where the photograph was taken or those who could learn from it. The rest of usor those who could learn from it. The rest of us

are voyeurs, whether or not we mean to be.are voyeurs, whether or not we mean to be.

Susan Sontag,Susan Sontag, Regarding the Pain ofRegarding the Pain of

OthersOthers (2003), 42.(2003), 42.

Date post:	08-Apr-2018
Category:	Documents
Upload:	atlasoftorture
View:	213 times
Download:	0 times

Cinema and Human Rights - Media Literacy

Documents