Found footage

question the footage of the videos once they are released; questions such as, “Does this footage tell the whole story?” and, “Was the officers body worn camera on at the beginning of the incident?” and, “When can the public see the footage?” Once a police officer puts his or her uniform on, the officer should have the camera on and rolling that way the department can see exactly what happened, and be able to see the whole story with no questioning. A lot of the time, the camera footage we see on the

black and white footage from that time. This adds a sense of connection, because the clips exemplify how frightening it would have been for the farmers and their families to see huge clouds of black smoke rolling over them, and the fact that it’s on camera helps the viewer connect to it. Over this footage, the directors inlay multiple survivor retellings to show the differences and similarities between families that stayed during the Dust Bowl. The directors use black and white footage of the Dust

followed three student filmmakers who aimed to create a documentary about a local legend called the Blair Witch. While the film alluded to various hallmarks of the horror film genre, it was groundbreaking in its marketing strategy, the use of found footage, and cinematography. In many ways, The Blair Witch Project adheres to various tropes and traditions of the horror movie genre. The film includes some characteristics of the Italian Giallo genre. In both genres, the killer is unknown and unseen

Both documentaries used similar interviews that told the audience about times where human-like qualities could be found in the animals. For example, in The Cove, Mandy Rae saw a baby dolphin trying to escape the slaughter and vault the net, blood streaming behind it. “We walked down to the water’s edge, and this one poor dolphin… You could see it trying to get away

between the two films, Fahrenheit 911, and Fahrenhype 911, help my understanding by developing a comparison between the two films which helps me analyze the ideas that are being presented in each film. Both films use statistics, interviews, news footage, and clippings from newspaper to try and convince the viewer of their own biases. Fahrenheit 911, for example, stated that George Bush cheated in the elections and then spent 42% of his first presidency on vacation. Thus, Michael Moore is trying to

to be found before they conduct another attack. Finding the criminals that have done a wrongful act can help restore the confidence in individuals and the citizens of London back in 2005. On July 7, 2005, London was wakened by several suicide bomb attacks. Citizens of London were in danger and warning signs were put up on roads, warning drivers to avoid London. The further attacks were prevented due to electronic surveillance, which played a vital role during the investigation. CCTV footage provided

chasing the suspect down for the crime and you do everything by the book, but when you get back to the Police Department you are getting charged for something you never did because you follow everything by the book. It was just a civilian getting footage of you beating the suspect down and using unnecessary force on that person. Now think would it have been a good thing to have a body cam on you, and prove you are innocent from the charges you are being held with. Before the body

Under their Thumb Questioning the credibility of the Queensland police force is unheard of, but when an Aboriginal man is found dead in his cell, who is held responsible? Director Tony Krawitz decides to uncover this tragedy in his documentary, The Tall Man writes Paige Smith. Through compelling visuals, confronting interviews and captivating camera techniques, The Tall Man is an informative documentary which shockingly details the injustices of this story and the effects on the community. On

by the Khmer Rouge will bring the country to a state of utopia (Ly). If one were to look at film and pictures taken during the Khmer Rouge’s rule, there would be nothing to indicate that Pol Pot’s promises did not come to fruition: the surviving footage is almost entirely propaganda produced by the Khmer Rouge, and depicts Cambodia as the promised utopia (Panh). How can it be though, that in a country where the communist ideal has come to be, where everyone is equal and has their needs provided,

This is a very emotional staged documentary and with very graphic subtle visuals engulfed in not-so-subtle external forms in order to awaken my inner awareness of the film form and distance myself from the story itself. As mentioned in Ken Provencher’s reaching, the movie is littered with cuts of different forms of media, partly to replicate today’s instant forms of communications and news channel. More importantly, the mashing clips together “force a reaction from a powerless “userbase” audience”