Film Documentary by Allie Singleton https://padlet.com/singletona1/47vr4jnwui37 Honors ENG 10 en-us 2017-10-30 03:34:30 UTC 2025-11-07 18:34:14 UTC hello@padlet.com Divide into groups: singletona1 https://padlet.com/singletona1/47vr4jnwui37/wish/201588842
  • "We expect to be told things about the real world, things that are true. We do not demand that these things be portrayed objectively, and they do not have to be the complete truth . . . But we do expect that a documentary will be a fair and honest representation of somebody's experience of reality."


    • ]]>     2017-10-30 03:46:26 UTC https://padlet.com/singletona1/47vr4jnwui37/wish/201588842     Agree or Disagree with Filmaker's Statement singletona1 https://padlet.com/singletona1/47vr4jnwui37/wish/201589197
  • Interview with Rose Rosenblatt and Marion Lipschutz on balance and truthfulness on controversial topics, regarding their film The Education of Shelby Knox.
  • Interview with Louis Alvarez and Andrew Kolker on objectivity, transparency and responsibility in dealing with political topics, reflecting their 35 years of work.
  • Interview with Elizabeth Barret on the role of media, and being an insider and outsider on a story, regarding her film Stranger with a Camera.
  • Interview with Alan Berliner on the creative process and how it changes a filmmaker's personal relationships with family and friends, regarding Intimate Stranger, Nobody's Business and The Sweetest Sound.


    • ]]>     2017-10-30 03:48:54 UTC https://padlet.com/singletona1/47vr4jnwui37/wish/201589197     singletona1 https://padlet.com/singletona1/47vr4jnwui37/wish/201589670 different kinds of styles may be employed.

    1. Expose students to a variety of expressive choices and select the styles you will analyze together. You can select them yourself or the group can do this collaboratively. You can either show clips and interviews in class, while providing some background information, or assign clips for discussion.

    Stylistic categories include:

    Public affairs essays: Food, Inc.; Critical Condition; Waging a Living; Good Fortune

    Personal/Memoirs: the works of Alan Berliner; Bright Leaves; Traces of the Trade: A Story from the Deep North; In the Family; In the Matter of Cha Jung Hee

    Narrative history/Biography: Revolution '67; Chisholm '72: Unbought and Unbossed; Wrestling with Angels: Playwright Tony Kushner; The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers; Brother Outsider: The Life of Bayard Rustin; William Kunstler: Disturbing the Universe

    Cinema verité: Flag Wars; My Country, My Country; Street Fight; Election Day; Hold Me Tight, Let Me Go; High School

    Poetic: Hybrid; The Beaches of Agnès; SALT

    Once you have selected the topics and films, explore the related resources -- particularly the relevant filmmaker interviews and production journals. Use these to hear and read filmmakers' own stories of why they chose the approaches they did.

    2. Ask the group to work together to analyze the implications of the different styles. Below are some options for organizing this discussion:

    Organize a discussion (either with the group as a whole or with the class broken into smaller groups) comparing different styles. The comparison should address these general questions: What expectations do filmmakers who work in this mode have for their films? To what kinds of issues does this style lend itself? What are the particular advantages and disadvantages of this approach? You may want to contrast two or more different styles (e.g., public affairs essay and personal/memoir, or poetic and narrative history/biography). You can also develop a chart to use for group discussion; the number of rows will depend on the number of styles you discuss:

    Film Style: Public affairs essay, Personal/Memoir, Narrative history/Biography, Cinema verité, Poetic

    Th


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