World Cinema


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Amy - documentries

Opening scene  : - 1998 - Digital equipment became more prominent - Dina Washington, Sarah Vaughn, and Tony Bennet - Imperceptible cut, in the beginning, to kickstart a narrative from the first extract. No diegetic sound in eternal, floating images display. The Guardian interview A 43-year-old Londoner, Kapadia is the man behind Amy, a documentary that chronicles Winehouse’s tragic decline from bright-eyed prodigy to doomed tabloid obsession. Assembled from 100 interviews and incorporating 20 months of editing in a process that took three years in total, the film presents what feels like a true version of events. It is also incredibly moving. The film claims, like the song, that Amy didn’t go to rehab only on the say-so of her father. Mitch says he only thought Amy shouldn’t go to rehab “at that time”. He claims that those three words were edited from his interview. Constructed almost entirely from archive footage, the story was told without any guiding voiceover, a...
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Documentaries

The documentary modes According to Bill Nichols, the documentary can be subdivided into six sub-genres or modes. These are as follows : -                 Poetic            Poetic mode shares a common terrain with the modernist avant-garde. This mode sacrifices the conventions of continuity editing and sense of a specific location in time and place. These films are allusive and often surprise and challenge the students in what they think documentaries are. They use 'associative' editing to create a mood or tone without making an explicit argument about a subject. -        Expository       Speak directly to the viewer with voice-over. These films use explicitly rhetorical techniques to explore points of actuality. They use-over and have a straightforward to tell structure (with graphics/interviews/footage) where the viewer is guided through the materi...
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Russian Montage

Vertov was a constructivist. For him, montage was part of the selection process. The combination of shots would affect the the audience, making them aware. He founded the experimental group Kino eye together with his wide Elisaveta Svilova (co-editor) and his brother Mikhail Kaufman (cameraman). They felt the task of the soviet film was to document reality 'to reveal truth' and were opposed to the fiction film that depended on artifice 'the ordinary fiction film acts like a cigar or cigarette on a smoker. Intoxicated by the cine-nicotine...' Man with the movie camera Dziga Vertov is described by S.M Eisentien as a 'film hooligan' producing 'unmotivated camera mischief'. He made a Man with a movie camera as a 'visual symphony', a self-reflexive film about making of the film. As a self proclaimed 'experiment in the cinematic communication of visible events' it is an exhilarating dynamic, collective experience about the life and rhythm ...
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