Devil Came On Horseback

Firstly, it is important to understand how the documentary form is best suited to illustrate the film’s theme. In order to do this, one must have an overview of the documentary style of filmmaking. Documentaries concern themselves with the “exploration of

In the beginning of the film, James begins by using the indirect interview technique with William and Arthur to appeal to ethos. The interviews are conducted in both of the boys homes in order to show the viewers the poor conditions they are living in. The interviews also illustrate the similar backgrounds and culture that both the

Some examples of this pathos include the words spread across the screen claiming, “What you see on the news is a story 150 years in the making” (“13th, Trailer”). This is to say that African Americans have been fighting for freedom for longer than most think or assume, and this documentary is going to get to the bottom of that. This is the same way that the video uses Kalief Browder’s personal testimony to bring the audience to tears and just feel what Browder feels, emotionally binding you to the documentary and causing you to want to see it to empower this man who committed suicide to escape police brutality. Adding to this idea, pictures of the brutality and unjust treatment add to this pathological tempt. It forces the viewer to want to watch the documentary because it makes the viewer feel that bad for all of the people shown in the documentary simply because of how they are being treated. Thus, pathos is an effective tool used to convey the message of the documentary and draws readers

Richardson’s non-interventionist style is a prime example of observational documentary, and works specifically well in capturing and promulgating the subject of death. According to Nichols, observational documentaries started appearing in the 1960’s as result of more mobile and smaller equipment. Furthermore, observational documentary stresses non-intervention, as filmmakers objectively observe indirect speech, candidness in the form of long takes, and create a world out of historical reality not fabricated with

The appearance of the Devil in Hawthorne’s story appears to have “ An indescribable air of one who knows the world”(Hawthorne 2) , power unlike any other human. The Devil’s appearance looked as if he could be Goodman’s father. The Devil confronts Brown on being late Brown explains ”with a tremor in his voice” (2) that Faith kept him back. In King’s short story King uses sensory details to develop a vivid image of the Devil. Gary reminisce about the Devil’s voice “In the dark I sometimes hear that voice drop” decades, after the encounter with Satan. The smell of the Devil’s breath was like sulfur and his skin described as burned matches. Satan’s eyes “had no irises, and no pupils” (King 829). His eyes are a portal into his hollow soul filled with fire.

The footage in the film shows Nazis staging events such as people enjoying big meals, theater performances, and having funerals. The real purpose behind the staged events are unknown, but probably to fool the International Committee of the Red Cross when visits occurred. Jews held secrets in the ghettos by having an underground observation of religion. Another big secret the Jews held comes from secret documentation of the daily life in the ghettos from different members such as rabbis, doctors, scientists, and other people. In correspondence to the class, the film does mention the secrets and shows some of them

The Holocaust, one of the worst genocides in history, a time that every person should know and understand, the mass murder of Jews over 5 years of pain and suffering. The best way to teach this in my opinion is with the Elie Wiesel interview Death Camp Auschwitz and to show it when middle schoolers are young, but old enough to have an idea of what happened from 1939 to 1945, but the middle schoolers can't watch this without losing important information not given in the video. So there is a reason why the middle schoolers should see this over reading books and online stories, and how they will keep wanting to listen to what else is missing from the picture. But there will be some forms of information lost when the middle schoolers watch this over the books and such. So what gives this interview video an advantage over books.

Spielberg adds another dash of realism to the film by throwing in real historic footage to the mix. The most effective contribution to the realism and documentary styling is the genuine historic footage of the real Schindler Jews visiting Schindler's grave alongside the actors who played them in the film shown during the end. This suggests that the characters featured are not fictional and that the events in the film really took place. It stresses that these people really had families who cared for them and are of some significance to history.

This documentary has a voice which is the most important part of any movie, furthermore, it has it own way of living and breathing and speaking to

Zahava Solomon, (an Israeli psychologist and researcher in the field of psychological trauma), have a conversation about a man who “looked through at everything as if through an imaginary camera”. As this scene carries through something happens his camera breaks. The situation he was in turn traumatic when they arrived in the vicinity of the stables in Beirut, (The Hippodrome). In this scene we see that Folman uses framing to create sadness within the audience. Folman creates the feeling of sadness by using different types of framing such as: close ups and mid shots. In this scene Folman uses mid shots of the Arabian horses to show the audience the suffering that the Arabian horses have to go through due to the soldiers that repeatedly abused them one by one. Close ups of the face of a wounded horse that falls over, creates a deep saddling feeling within the audience due to Arabian horse not being able to hold any longer to dear life, we see that the horses can no longer do anything which affects the audience as a result of us not being able to do anything about it. As the horse falls over we see the human figure reflecting in the eye of the horse that had just fallen over and died. The death of the slaughtered horses, which were scattered everywhere along the ground, creates a deep effect on the audience. Knowing that there are people so cruel out there in the world who carry on doing this and that this type of action still exists. The man behind the camera couldn't handle seeing the dead and wounded horses and so horror surrounded him and he freaked out. In this scene Folman also uses music to create a mood for the audience, which is happiness, whereas Ari in this scene feels down, buzzed and the song playing in the background “there's no love song” is a hyped song. Which creates an unusual and confusing feeling for the audience to feel, due to the character feeling down buzzed. Ari’s position in the force was that

In this essay, I will explain why a documentary is always more realistic than a fiction film. I will show my thesis by exploring elements that influence how realistic a film is: film editing and format, genre, and transparency. I will use the documentary of Armadillo (2010), by Janus Pedersen, and the fiction film of The Chronicle of Anna Magdalena Bach (1968), by Danièle Huille as examples.

Tom Hanks who is the main character couldn’t believe his eyes. He was shocked that those cruel scenes were happening right in front of his face. Spielberg also stops the music and makes the screen kind of blurry to instill a sense of reality to the atmosphere. This definitely added more reality to the movie. Tim O’Brien said credibility might be threatened by telling an unbelievable story but this unbelievable aspect of the movie adds more credibility. The way he shot the film almost gives us a feeling that we were watching a documentary about war. These are the aspects Tim O’Brien exactly talks about in his text. Spielberg includes unbelievable aspect to his movie but he does not lose the credibility as Tim O’Brien states on his text.

The movie showed some scenes of Adolph Hitler when he was announcing his speeches, by showing these footage the director made the movie seem more realistic and as if they were filming it live as it

For any movement or cause, there must be a face to attribute to it for it to be successful. This is precisely why Marine Captain Brian Steidle is used as the narrator of the documentary, in addition to him being the primary source for the Darfur genocide information. Knowing someone on a personal level tends to make trusting their words easier and clear doubt, which is why Brian Steidle beautifully portrays his life in a brief introduction. Family photos and home videos create the idea of knowing someone their entire life; along with Brian’s voice over, it makes an incredible source of information about our narrator. Human beings tend to show the greatest amount of emotion in our faces; especially our eyes, as

Movies can be dark. They can be devastating. They can be tragically sad, painfully colorful. Bright, burning, scarring. Yet, despite all that a movie can illustrate, movies made for the masses have boundaries on tragedy. They cannot show child rape; they cannot show a girl’s limbs being hacked off by a young boy. These images, while understood as descriptive writing in books, mark the edge of what viewers can subject themselves to in film. Film images can be ingrained in minds forever, while our imagination of similar scenes often remains a hazy, shifting, jumble of movements and face. As director of Beasts of No Nation, Cary Joji Fukunaga chose to make changes to the book through the inclusion of small additional scenes before the war, the added character of a big brother, and an additional final scene, to illustrate a version of Agu unseen in the book and in turn make the story more palatable to the average moviegoer. These changes, while they do not alter the general plot, give the story a more appealing trajectory.