ISSUE 24

Films I must watch:

ALL ERROL MORRIS DOCOS INCLUDING

 +THIN BLUE LINE

+MR. DEATH

+TABLOID

I went to see 'Page One: Inside The New York Times'(Andrew Rossi) yesterday. The documentary examines the demise of print journalism in the USA. It is carried largely by one particular reporter. He is the perfect protagonist for the documentary as he has an interesting but not an irritating voice, a great face for camera, and has lead what he calls a 'textured' life. He is likeable and funny and intelligent. If it weren't for him, the film might've lost its appeal after 30 or so minutes. I learnt a lot from watching this film:

+Open the film with an arresting image. This film could've chosen a better first image, I felt. The opening sequence of the dreary factory in which the paper was printed did not excite me at all.

+Use one particular person to revolve your story around. A documentary that follows too many different people, or vaguely follows someone will not work. Use someone who is interesting - whether it is their history, their humour, their face etc.

+Make sure what ever is included in the film is somehow able to be brought back to the main point you are trying to make. Much of this film felt lost to me - like there wasn't a real awareness of the underlying message throughout every story.

+Sometimes, in documentaries, it is best to finish withholding a little bit of information from the audience. This keeps things interesting and keeps the audience guessing, thinking about the film even once they've left the theatre.

ISSUE 23

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So, week 6 already!? This morning's lecture focused on aesthetics in documentary making. Some notes:

+ There can often be a direct link between propaganda and documentary. "Housing Problems" 1935 used a very evidential style of documentary making, using images as evidence of the voice over narration. This approach can be referred to as a discourse of sobriety - using a very dry and sober approach to instate an authoritarian voice. This is not always necessary. This style of documentary creates a wall between audience and subject, rather like looking at insects behind a glass wall. 

+ Trying to break down this wall will change the very essence of a film. Aesthetics will be completely different. 

+ MAYSLES BROTHERS: it's not good that I didn't already know of this duo. Will be looking at their work. Late 50's to early 60's, a radical departure from the austere documentaries prior. Philosophical underpinnings - letting people see the world as it really was. 

+ BRIAN HILL: "Drinking For England" 1998, "Pornography - the musical", "Fultham Sings". Using music as a means of affecting the audience. 

+ We don't need to always see what we are hearing. Reaction shots are gold.

Now that we have settled on our documentary subject Dumpster Divers, having this knowledge that the audience does not always have to be seeing what they are hearing becomes invaluable knowledge, as most of the footage of the actual dumpster diving will be occurring at night and will therefore be hard to capture on film. Sound will be of utmost importance.