Film studies global cinema

. Past vs Present . Archive home footage, Paparazzi, Professional . Juxtaposing these to construct his version of Amy, downtrodden by the Paparazzi, Archive footage showing   . Kapadia utilises a variety of new digital technologies to construct his own version of Amy, often juxtaposing these technologies to challenge the constructed image of Amy in the press. Archive footage is used to create an intimate feeling towards Amy from the spectator

Kim Longinatto . Observationist - no planning, no scripting, no voice overs, no lighting . Focus on rebellious women   .  The meaning is derived from the subject as they control the film more so than the director Grammys award scene . grainy footage Los Angeles saying nominations . Dad speaking about helping Amy over stills of Amy and Mitch being bombarded by paparazzi implicating him "We tried everything with Amy" - Lucien grange : 'we have grammy's coming, you have to  get clean' - videos of paparazzi and assault of flashes + slow motion (overwhelming to align us with Amy) - positioning us from the POV of the paparazzi to make us feel complicit and intrusive - we feed on the images of the paparazzi, we buy it and read about it (famous people's downfalls) . Official footage . two spheres of action   . CU's, Shallow DOF, professional lighting, Professional make up VS Longinatto . SLow motion + fade out of applause + sentimental musi...

1 hour 40 minutes Hollywood section A . Apoc + Casa = 40 marks = 50 mins British Section B . Kevin + Fishtank 2 hours Section A . Pans + city of God Section B . Apros de Nice + Man with a movie Camera Section C . Amy

Kim Longinotto: Plight of female victims of oppression + discrimination . Observational filmmaker - / Cinema Verite - so no advanced planning, scripting, staging, narration, lighting, re-enactment and interviewing . Feels like shes making films with people, more their film than hers, giving them control over there own stories . To alter people's perceptions (what impact she wants her films to have)  Relation to Amy: . Supposedly Kapadia doesn't go in with a narrative originally . Sits interviewees in a dark room and has a conversation w/ them . He also edited the interviews in manipulative ways .            ll[]=[]=\/=[]=[]ll                       ll[]=[]=\/=[]=[]ll . Chris King - the editor - 'added layer after layer of effects'- to try and make a film that was united and not just a collection of clips - '90% of our rushes were digital files and in the most dizzying array of formats...

Key topics: . Filmmakers theories - Michael moor - Longotono - Broomfield - Watkins . Critical debate ( . Film form . Meaning and response . Contexts ) . Personal mode of the documentary is most prevalent in Amy- not mentioned in Nicholas's 6 modes of documentary . Digital sound recording for the voice recordings - new technology . Autobiographical - personal documentary . FIlm makers theory or digital technologies and how they've changed - born in 83, documentary starts in the 90's - coincides with the boom of digital technology A) Filmmakers theory - how does this increase your understanding of the chosen film [20] B) "Portable, digital cameras, digital sound recording equipment and nonlinear digital editing have had a very significant impact on documentary film" - digital technology impact on chosen documentary film [20] Panoptican prisoner Discipline and punish Foucault Birthday scene - Filmed in 1998 (When digital technology had beco...

Over arching . key argument of abstract vs nonabstract (techniques used) and link to production context of a move towards New Hollywood = more auteur freedom with interior meaning (auteur theory) + accompanied behind a change in national mindset which became clouded and uncertain, where artists like Coppola who went to film school + influenced by French new wave became more critical and experimental (link to post modern possibly) with the downfall of American exceptionalism and it's entailing disillusionment . From Studio system to New Hollywood . Reflected in: Influence from French New wave . Comparison of opening scene: - highly choreographed camera movement in Casablanca + traditional three point lighting VS French new wave influence of overlapping editing + prolepsis - Contextually: stubborn American isolationism despite global conflict around them (Rick in the bar and the move towards him as the camera tracks and we hear people talking about visas) VS fractured nationa...

. Frame within a frame w / a voice over - angelic back light with silhouette figure of Kurtz . Tribal mise en scene . Chiarascuo - Frame - claustrophobic of Willard in the boat . Doors music . Bobbing out the water - orange tint, camo face paint, lighting strike . medium shot of Willard silhouetted by a shrine .  Silhouette - Orange haze (Kurtz) . Wilalrd also silhoutted . 3 inter-cut (Slicing up the cow, slashing the wall, MCU's/ CUs of Kurtz and Willard) . Orange haze and darkness - CUs . Fure . Low angle MCU . Extreme close up side angle low angle of Kurtz dying 'The horror' . CU + dissolve of legs + slow motion . Blur . Low angle, disorientating camera movement + sombre alien music . Door frame - moving slow though it POV = mass of tribal people who bow down to him . CU of his face almost looks like the stone idol next to him . Wading through the crowd who have split for him, dropping their weapons at his feet as he walks through ...

Auteur theory - different production contexts Killgore intro Sound: . Narrative voice over . Constant whirling helicopters . Shouting over each other . Chaotic overlapping sound of war machines + people . Ford Coppola breaking the 4th wall - make us aware of its construction + propaganda . WE are there to help you, we are there to help you . Sirens + crying children + war . Performance: half-assed helping people . Church performance quieter than the war sounds + goat being airlifted (barbaric or ritual sacrifice ) -  WAR IS THE RELIGION OF AMERICA . Trumpet + helicopters . Cinematography: . Establishing shot = classical Hollywood . Deep DOF . Tracking shot - big budget + technological advancement . haphazard circle shot of Killgore and others talking - as opposed to Casablanca's rigid cinematography- no establishing shot of Killgore really - lack of connection and overall objective - spontaneity . Grey overcast sky . Wide shots + DOF = scope of action . Wi...

Intro: . Background of both production: - Studio System Vs New Hollywood (Influence of French new wave and new technologies)  . Auteur theory Casablanca . Ricks intro:  Tracking shots, sets up context, Ricks isolationism, establishing shot moving to character shot - deliberate use of mise en scene. How does it adhere to classical hollywood film form? . Intro to Willard - dissolves (non continuity editing influenced by French  New Wave), prolepsis, Sheen's improvised performance (he was very drunk as well) - method acting, no establishing shot  . Rick and Ilsa's reunion w/ Laszlo and Renault: Artifice - set up, three point lighting, well choreographed cinematography, blocking (Rick's isolation), shot reverse shot . Intro to Killgore: Proxemics, staging, blocking, location, shooting, steadicam, mise - en - scene, - build into Wagner scene  . Killgore/ Marlon Brandon intro: Brando 'method' acting  . Ending scene: mise en scene, non location shoo...