Documentary and film by Roisin McQuail

Plastic China

wxnp8160_1 — 2025-03-21 10:39:47 UTC

I was interested to understand the ethical implications of documentary film making which i may not of fully considered before. For example the idea that the conscious decisions of the focus and subjects of the films (the social-actors), being effected by the presence of a camera. This was interesting to note particularly when watching the example film Plastic China. Documentaries can capture raw emotion because of this, but equally the 'characters' might not be being authentic.

wxnp8160_1 — 2025-03-21 10:39:47 UTC

I now understand that documentaries are meant to stand as representations for individuals and groups. However it would be easy to use your own bias' when displaying social phenomenons, such as politics. An example we discussed in the seminar was the interviewing of voters in the U.S election, and editing footage or asking questions that manipulate the viewers perception of Trump supporters to be stereotypical and almost comedic.

What I found interesting was how my own perception of China was altered after watching this. Before watching I associated China with its mega cities such a Beijing and Shanghai, with dystopian infrastructure.

'In my home town we live at the mercy of mother nature'

wxnp8160_1 — 2025-03-21 10:39:47 UTC

Lines like this are powerful, and come about from the nature of documentary filmmaking, the viewer can understand the scope and emotion of the situation.

Nichols 6 modes of documentary

wxnp8160_1 — 2025-03-21 10:48:41 UTC

poetic, expository, observational, participatory, reflexive, and performative

Questions I might now consider when making a documentary film

wxnp8160_1 — 2025-03-21 10:49:48 UTC

What would the subjects/social actors compensation be?

Do you have the right to mock someone/a way of life?

Is it appropriate to film illegal things?

To what extent can filmmakers reveal their intentions?

wxnp8160_1 — 2025-03-21 10:55:10 UTC

From this division of the themes of documentaries, I can probably confirm that my favourite is observational because I like the way it is not scripted and looks more natural to the viewer, like in Plastic China.

The Power of Music in Film

wxnp8160_1 — 2025-03-21 13:34:02 UTC

In this video, the creator attempts to display how music alters the viewers understanding of the film. This is useful and also related to the reading 'listening' in ICA 1.

Why I chose to explore documentary film making

wxnp8160_1 — 2025-03-21 14:00:31 UTC

In the past I have tried to make my own films, and have not been particularly happy with the outcome. In researching and understanding the modes of documentaries and films, it is useful to understand how difficult making a good film is, for my own self-esteem.

Documentaries and films are an excellent means of education and when they serve that purpose well, it can be grounbreaking.

Before university, what had caught my attention

wxnp8160_1 — 2025-03-21 14:09:13 UTC

Documentaries such as this ignited my interest in sordid topics such as 'The Troubles'. Once Upon A Time in Northern Ireland was Directed by James Bluemel, it follows unheard stories from both sides of the conflict. Given the sensitive nature of this issue, and considering it was so recent, I think it covered the facts in a non-bias way and helped me to gage both sides.

wxnp8160_1 — 2025-03-22 13:43:43 UTC

'Natural as it is to narrow one’s eyes when the phrase “both sides” pops up in situations involving state violence, Once Upon a Time in Northern Ireland follows through on its promise to hear both halves of the story as well as it can.'

This articulates how the documentary did not show favour to anyone, and also it kept the discretion of the interviewees, not exposing the role they might of played.

What I took from this without cultural analysis

wxnp8160_1 — 2025-03-22 13:54:54 UTC

Without the lens of cultural analysis, watching Once Upon a Time in Northern Ireland still offers an emotional experience that encourages interest in the historical and social contexts of Northern Ireland, but without the deeper understanding of the cultural forces involved.

I was struck by the personal stories of people affected by the conflict (The Troubles) and the ways in which the history of violence and division shapes their lives today. I felt the weight of the situation through the powerful imagery, even without deeper cultural context.

Before University/ICA 1

wxnp8160_1 — 2025-03-22 14:08:53 UTC

Cinema, film and the gaze

wxnp8160_1 — 2025-03-22 14:28:23 UTC

Studying Laura Mulvey and her theory of film was not quite relevent when I consider Once Upon a Time in Northern Ireland. In the context of Once Upon a Time in Northern Ireland, the focus on the human impact of The Troubles, particularly through emotional and vulnerable testimonies, moves away from the traditional "male gaze" and instead centers the complex, multifaceted experiences of those involved, making it a more inclusive exploration of trauma and memory.

wxnp8160_1 — 2025-03-22 15:14:00 UTC

I had not considered the ethical implications of making a documentary about The Troubles before coming to university, even after watching it. I didn't realise the complexity of the topic. The documentary was darkly humorous as points, and is there something to be said about Bluemel being an English filmmaker?

After Semester 1/ICA 1

wxnp8160_1 — 2025-03-22 15:17:43 UTC

Documentary Films of the past

wxnp8160_1 — 2025-03-22 15:23:29 UTC

Reconstructing Vertov: Soviet Film Theory and American Radical Documentary discusses how Soviet filmmakers, and Dziga Vertov in particular, envisioned film as a way of revealing truths and provoking political change. Vertov's "Kino-Eye" theory, which is that the camera had the ability to capture reality unseen by the human eye, influenced American radical documentary filmmakers to utilize film to challenge dominant histories and give voice to those silenced by society.

wxnp8160_1 — 2025-03-22 15:40:16 UTC

In Once Upon a Time in Northern Ireland, the same approach is seen. Similar to Vertov's revolutionary goals, this documentary aims to reveal truths and inspire critical thinking, challenging the viewer to recognise the lasting impacts of conflict upon individuals and communities. Both films highlight the utilisation of the camera in constructing a politically engaged, uncompromising vision of the world.

wxnp8160_1 — 2025-03-22 16:11:48 UTC

Mulvey created her own films, one letterboxd reviewer described her 1977 film Riddles of the Sphinx, 'a revolution in film making, absolutely no fun'. Does this imply that the male gaze is a part of our expectations in films? And we have learnt to like the warped narratives in favour of men and that portray women as an aside?

After ICA 2/NOW!

wxnp8160_1 — 2025-03-23 16:21:56 UTC

Nanook of the North

wxnp8160_1 — 2025-03-23 16:30:35 UTC

I did some research on this documentary

wxnp8160_1 — 2025-03-23 16:33:50 UTC

I watched the documentary 'Amy', which centres around the life of the British singer Amy Winehouse. I found that the use of her music throughout tells the story of her rise to fame and eventual tragic downfall. The inclusion of songs such as Back to Black and Rehab, paired with orchestral music, creates an emotionally charged atmosphere.
The music reinforces themes of vulnerability and heartbreak.

wxnp8160_1 — 2025-03-23 16:41:02 UTC

The mix of her music and the orchestral tracks intensifies the sadness drawing viewers into her world and leaving them with a reflective, melancholic mood. The documentary’s music creates a powerful emotional journey, making it both heartbreaking and deeply moving.

This example highlights how music, particularly in a documentary about a musical figure, can not only convey the subject’s personal experiences but also dramatically shape the mood of the entire film.

wxnp8160_1 — 2025-03-23 16:50:26 UTC

Before university, my approach to watching documentaries was more casual. I didn’t pay as much attention to the deeper elements like storytelling techniques or the emotional impact of music and visuals. I’d focus mainly on the content, taking in the facts or following the narrative, without analyzing how the film was constructed or how it made me feel.

wxnp8160_1 — 2025-03-23 17:19:49 UTC

In the extract taken from book Noise: The Political Economy of Music by Jacques Attali, that we were set to read I learnt about Aristotles three kinds of music-"ethical' (useful for education), "of action" (which influences even those who do not know how to perform it), and "cathartic" (the aim of which is to perturb and then appease).

On the other hand...

wxnp8160_1 — 2025-03-23 17:38:46 UTC

While the documentaries I have discussed so far have a mellow tone, and have sad themes, I also appreciate the other genres of documentary film making. Mockumentaries are a phenomenon that i also enjoy, one of my favourites being This Country, which is a BBC 3 special. I am particularly fond of it because of its depiction of the west country, which is where I am from, and I know villages like the one in the show very well.

wxnp8160_1 — 2025-03-23 17:53:47 UTC

"You wanted to show people that this sadness you were carrying, this brokenness you had, wasn't everything about you." Quote from Once Upon a Time in Northern Ireland

wxnp8160_1 — 2025-03-23 18:02:29 UTC

In reading the section which discussed 'humour' from the Penguin Freud Reader I began to understand how humour can be used as a defense mechanism: "Humour... allows us to give an outlet to pent-up feelings without violating social norms." As well as a release of repressed emotion, "The joke allows the unconscious to break through in a controlled, socially acceptable way." While also being a sign of Aggression and defiance: "Humour often involves a mild aggression, a rebellion against social rules, which makes it both cathartic and subversive."

wxnp8160_1 — 2025-03-23 18:11:49 UTC

In the documentary Plastic China, there was humour from the children playing and being themselves, and also in the private conversations between the parents. I liked it because it didn't feel like Jiuliang Wang was depicting the family in any specific way, and was ensuring they were humanised.

wxnp8160_1 — 2025-03-23 18:16:18 UTC

wxnp8160_1 — 2025-03-23 20:33:35 UTC

“Me and Kurtan are gonna have a flat in the middle of the village, and all our furniture will be inflatable, and we’ll have a Sky box, and it’s all gonna pay for itself because we’ll use the spare bedroom to breed quails because their eggs are worth f***ing s***loads.” – Kerry