The Documentary

“Supersize Me” is an example of a Performative documentary, as it helps to emphasize the ‘subjective’ nature of the filmmaker, in which the documentary follows the filmmaker himself ‘Morgan Spurlock’, as he Is used to help gain an emotional and dramatic effect from the viewers’. Spurlock does this by putting himself through a challenge that requires him to test the effects of eating fast food products (McDonald’s) for 30 days, and to see the drastic effect it has on his ‘physical and psychological

Everyday experience, suggests Edgerton, like documentary, arises from the interplay of two realms; one hidden and one perceived. This duality, encompassing both the darkroom of the film developer and dark theater where the film is screened, pertains not only to documentary but to life as we live it. Masked by our “inherent inability to see,” and curled inside timescales we cannot untangle, a bizarre world plays out, contained by, yet isolated from that which we live in (Edgerton. 1970 1-2). Nevertheless

Girl Model and Documentary as Argument Documentaries occupy a unique space in the film world. Not only must these films attempt to provide a perspective on reality, they must also engage the audience and provide a form of entertainment. In portraying reality, the films generally take on a specific perspective. Documentary filmmakers create a film advocating a specific point of view in order to create interest in the film and create a stronger film overall. Bill Nichols calls this the documentary’s

The Ethos of Participatory Documentaries When it comes to persuasive drive, classically the appeal for change derives from Aristotle’s ethos, pathos, and logos. By using these three appeals, one could formulate a presentation of public speaking that tailors best to the target audience. The same logic can be applied to the modern medium of documentary. According to Bill Nichols, documentary serves as a narrative form of reality in which the filmmaker layers an argument (Nichols 2010). Some films such

Documentaries film-making can never be values-neutral Introduction Media is so powerful that many people in business and politics have long realised that documentary filmmaking is a powerful way to influence or persuade the masses as to which side they should take on certain issues. Although the media claim their documentaries to be neutral, subjectivity is always an issue. Like any form of communication, including journalism, documentary filmmaking involves interpretation and choice-making on the

Documentaries are aimed to entertain and educate the selected target audience who are mainly interested in the documentaries topic. The representation of the selected documentaries is shown to portray teenagers as the general stereotypes (noisy, lazy, and rebellious, out of control). Age is used to identify what target audience would be appropriate for the selected documentaries; there is an age difference between youths and older adults in the media. In the media the teenagers are represented in

Shehzad Hussain Agharia Professor Dr. Beverly Barrett INTB 3354 October 14th 2014 Big Men Documentary “Big Men” is Quiet a clever documentary that involves Money, Power, Greed and Oil. This film will almost convince you that every individual is sincerely trying to do his or her best for the country, yet it is very different in the climax. This films main story follows a small group of American Explorers at an oil company called “Kosmos Energy. Jim Musselman is the president of Kosmos Energy. It all

Documentary photography is redefined as a form of photography that is used to capture every moment as it happens in order to express a message of what is occurring around the world (“Documentary Photography,” n.d.). Photographers who focus on documenting capture photographs that attracts public attention and tells stories of situations that happen in our daily lives (“Documentary Photography,” n.d.). I have always found interesting documentary photographers because they are able to tell a story with

Food Inc. is a documentary I had heard about, but never seen. Many people I talked to about the movie told me how powerful it was and how the movie warped their thoughts on the food they eat. After watching the movie in class I can honestly say that it had no real effect on what I eat or the food choices I make. Food Inc. does an amazing job at showing how big corporations have corrupted Americas food system. Unfortunately Food Inc. didn’t make me change my food habits like it has other people.

Gilles Deleuze, Cinema 2: The Time-Image, trans. Hugh Tomlinson and Robert Galeta (Minneapolis: University of Minnesota Press, 1989), 216. David William Foster, Latin American Documentary Filmmaking: Major Works (Phoenix: University of Arizona Press, 2013), x. Antonio Traverso and Kristi Wilson, “Political Documentary Cinema in Latin America,” Social Identities 19, no. 3–4 (2013): 276. Mike Wayne, Political Film: The Dialectics of Third Cinema (London: Pluto Press, 2001), 60. See Frantz Fanon