1. Chapter 10 Documentary, Experimental, and Animated Films 1 © 2013 McGraw-Hill Higher Education. All rights reserved.

2. 2 Types of Movies Narrative movies – Movies that are directed toward fiction or fictionalized stories Documentary movies – Movies with an allegiance to nonfiction but which still employ movie storytelling and dramatization Experimental movies– Movies that push the boundaries of what most people think movies are, or should be

3. Documentary Presents facts in a trustworthy manner. Events can be staged. Can be misleading, inaccurate, or partisan. 3 © 2013 McGraw-Hill Higher Education. All rights reserved.

4. Boundaries Between Documentary and Fiction Fictional films are assumed to be imaginary, although they may refer and comment on actual events. Fiction film are typically staged, rehearsed, filmed, and re-filmed. Some films seek to blur the lines between documentary and fiction films. John Grierson – “the creative interpretation of actuality” A film is a documentary if it is labeled as such. 4

5. Genres of Documentary Compilation films assemble images from archival sources. Interview or talking-heads documentaries record testimony about events or social movements. Direct-cinema records an ongoing event as it happens with little directorial interference. Nature documentaries explore nature. Portrait documentaries center around a compelling person. Often documentaries use several of these options. 5

6. Direct Cinema v. Cinéma Vérité Some Finer Points Direct Cinema (US) lightweight equipment follow, do not lead the action shoot/edit in chronological order events must be revealed untouched all music must have diegetic source; the story must be “found” in the material Cinéma Vérité (France) The truth in lies: anticipates faux documentary – Rouch: film technique as “lying intermediary”; more real than the truth. (“telling the truth by lying”) characters: the truth of their lies and fictions produces of a new reality that would not have existed cutting style: shots give impression that there is no space between the beginning of the end of one shot and start of another. documentary of encounter: characters & camera 6

7. Direct Cinema v. Cinéma Vérité Some Finer Points Direct Cinema passive camera: no provocation reality pre-exists & must be respected Richard Leacock & Robert Drew, D.A. Pennebaker & Albert &David Maysles Cinéma Vérité camera provokes subject new reality produced in the making of the film Jean Rouch & Edgar Morin 7 Jean Rouch: No difference between either: presence of the camera alone (automatically) provokes

8. Types of Documentary Form: Categorical Categories are groups that organize knowledge and can be formal or not. Categorical documentaries show all the categories and subcategories of a subject. Documentary on butterflies would focus on one species after another. Development is usually simple. Exciting or broad categories, patterned film techniques and mini-narratives can keep the subject interesting. 8

9. An Example of Categorical Form: Gap-Toothed Women Consists of interviews with women with gaps in their front teeth. The theme is that society has a narrow view of beauty. The explicit meaning is the broad reaction to the way the women feel about their gaps. The implicit meaning is that gaps are attractive and natural. The symptomatic meaning could be a reaction to the shift of the radical ideas of the 1960s to the mainstream 1980s, when it was made. 9 © 2013 McGraw-Hill Higher Education. All rights reserved.

10. Rhetorical Form Filmmakers presents a persuasive, explicit argument The goal is to persuade the audience to adopt or act on an opinion. Addresses viewer openly, trying to move the viewer. Subject is usually a matter of opinion. Often appeals to our emotions rather than facts. 10

11. Three Types of Rhetorical Arguments Arguments from source: arguments will come from reliable sources of information. Subject-centered: employs arguments about it’s subject matter, using examples, enthymemes, and common beliefs. Viewer-centered: arguments that appeal to emotions. 11 © 2013 McGraw-Hill Higher Education. All rights reserved.

12. An Example of Rhetorical Form: The River Persuades the audience that the TVA (Tennessee Valley Authority) is the answer to the region’s problems with flooding, agricultural depletion, and electrification. Was controversial at the time. Has eleven segments that on the surface seem to just inform about the Mississippi, but through repetition, variation, and development are very persuasive. 12 © 2013 McGraw-Hill Higher Education. All rights reserved.

13. Modes of Documentaries the Expository - This is associated with the classic documentary, and based on illustrating an argument using images. the Observational - This mode allowed the director to record reality without becoming involved in what people were doing when they were not explicitly looking into the camera. the Participatory - This mode presents the relationship between the filmmaker and the filmed subject. Makes the director's perspective clear by involving them in the discourse. 13

14. Modes of Documentaries the Reflexive - This mode raises the audience’s awareness of the means of representation itself and the devices that have given it authority. the Poetic - It aims to create a specific mood and tone rather than to provide the viewer with information. the Performative - Focuses interest on expressiveness, poetry and rhetoric, rather than on the desire for realistic representation. 14

15. Experimental Film Willfully nonconformist, challenging notions of what a movie can show and how it can show it. Frequently explores self-expression and experimentation outside mainstream cinema. Can use narrative, abstract, or associational form. 15 © 2013 McGraw-Hill Higher Education. All rights reserved. Luis Buñuel: Un Chien andalou (1928)

16. Abstract Form Organized around colors, shapes, sizes, or movements of the images. Often uses theme and variations. Goal is to make the viewer notice relationships and elements they wouldn’t normally notice. 16

17. An Example of Abstract Form: Ballet Mécanique Draws a comparison between the human body and machines by turning human action into mechanical gestures. Stresses the geometric qualities of ordinary things. Uses theme and variations by introducing motifs in rapid succession, then bringing them back in different combinations later. 17

18. Associational Form Ideas and expressive qualities group images that may not have any logical connection. Like metaphor and simile used in poetry. Images are typically grouped into larger sets, each which is a distinct, unified part of the larger film. Repeated motifs reinforce associational connections. 18

19. An Example of Associational Form: Koyaanisqatsi Juxtaposes found footage to communicate a range of emotionally charged ideas and qualities. The music has distinct segments, each with its own tone, which corresponds to the film. Constantly shifting associations convey many implicit meanings without any explicit meaning. 19 © 2013 McGraw-Hill Higher Education. All rights reserved.

20. The Animated Film Not filmed in real time. Spans all types of films: narrative, documentary and experimental. Types include drawn, cut outs, clay, model, pixilation, and computer imaging. Can be mixed with live action. 20

21. Traditional Animation: Duck Amuck Has an experimental feel because it asks the audience to explore cel animation techniques. Draws attention to painted backgrounds, framing, sound effects, music, onscreen and offscreen space, and time. Capitalizes on the character traits of Bugs Bunny and Daffy Duck. 21 © 2013 McGraw-Hill Higher Education. All rights reserved.

22. An Experimental Animation: Dimensions of Dialogue Displays aggressive alchemy. Contains three categories that display aggression via dialogue. Each category displays theme and variation. Each category displays conversation as annihilation. 22 © 2013 McGraw-Hill Higher Education. All rights reserved.

23. An Experimental Animation: Rejected by Don Hertzfeldt 23