Dana
Smith’s Mid-Term
Comm338
The following are my two questions posted for others to answer.
or refute this statement by comparing and contrasting the two
film types. Site specific (film) examples.
Question #2: The readings discuss four major types of nonnarrative form.
List and define each type. Then, site a specific example of a film that correlates to each nonnarrative type and give a brief discussion as to why it is categorized under the respective type.
Name and define each of the five divisions of the “voice” as they relate to documentary films and the voice of the orator. After naming and defining each of the five divisions, list the major characteristics of each.
Invention
-Invention is supporting an argument or position with physical evidence or proofs
that are in line with social rules.
-As the voice, it leads the viewer to a specific argument and states the cause.
Arrangement
-Arrangement is the pattern or order of events of a rhetorical film.
-As the voice, it weighs the information of the argument and puts it in a sequential
order.
Style
-Style incorporates all of the elements of film (talent, lighting, sound, cameras,
dialogue, etc) to create the necessary tone.
-The style supports and/or characterizes the voice. It’s the “supporting cast.”
Memory
-Memory is the visual representation, in its current state, as it unfolds or the re-
calling of certain events and applying them to what is being viewed.
-As a voice, it impacts the viewer so he or she will remember the content later or
it acts as a jogging device so the viewer will apply a memory correlating to the
film.
Delivery
-Delivery is the way in which the dialogue and/or action is presented to support
the argument, it incorporates the voice (tone, volume, etc.) and gestures
-Since delivery incorporates the voice, you cannot have one without the other and
meshing the two to fit the films demand is critical to its success and
understanding.
Major Characteristics
Invention
-is either inartistic or artistic
-inartistic: the evidence is not artificial or created (ie: DNA tests,
fingerprints, news casts, etc)
-artistic: the evidence is artificial or created; it’s ethical, emotional
or demonstrative in style (re-created police shows, Emergency 911)
-follows the three C’s of rhetoric: credible, convincing and compelling
Arrangement
-open-ended; at the filmmaker’s discretion
-both (or all) perspectives are presented
-trigger on evidence and emotion
Style
-at the filmmaker’s discretion
-incorporates all physical aspects of filmmaking (lighting, editing, cameras, talent,
voice, etc.)
Memory
-debate versus re-call (presenting something to be remembered or presenting
something to trigger an existing memory so that it can be applied to what is
being viewed)
Delivery
-the meaning could be delivered in one of two styles: connotative or denotative
-gestures represent non-verbal communication and are important in portraying the
correct performance and style
-eloquence and decorum measure the effectiveness of the films characteristics
(most importantly the voice)
Response
#1 – My response to Dave’s answer
The definitions were right on but didn’t have much “beef” to them. They were short, sweet and to the point. By answering with the KISS method, some key elements to a couple of forms were missed. For example, there was no mention of the associational forms characteristic of expressing an attitude(s) or mood(s). This is a very important quality of the form because it adds to the visual effects of juxtaposed images. Your example was Bruce Connor’s A Movie. This film had a very sexual connotation used to arouse the viewers. It created a sexual atmosphere or mood by combining totally opposite images into one, thus creating the idea in the mind of the viewer.
Another example concerns categorical films, not only do they divide the information down into subdivisions but they also should make a valiant effort of challenging the viewer’s expectations. How did Wild Wheels challenge you as a viewer? What characteristics of the film kept your attention?
As for the rhetorical form, what about its ability to appeal to the viewer’s emotions and impact their everyday lives? These are strong qualities of the rhetorical form. If you think about it, persuasion focuses on emotions and lifestyle. What else are people to change? Abortion, white supremacy, politics and all other controversial issues hit at home emotionally or by the lifestyles we live. In order to persuade someone successfully, the rhetorical form must focus on emotions and lifestyle.
What are some key concepts to the participatory mode of documentary film? Give an example of this mode being used.
The participatory mode of documentary film requires interaction between the filmmaker and a subject and stresses a participant-observation role of the filmmaker. This particular mode incorporates the use of interviews and/or interaction with the subjects and sometimes incorporates historical footage to examine the issue at hand.
There are several key concepts that make the participatory mode unique. Let’s examine them closer.
Films created in the participatory mode tend to be open-ended films. They are on-going and allow the viewer to draw one of many conclusions. They also show active interaction between the filmmaker and the subject without the addition of a voice-over narration. Those who view a film made in the participatory mode will have a sense of engagement, interaction and emotion.
Films in the participatory mode will take one of two stances. It will either take an investigative role or a reflective role. As an investigator, the filmmaker is a researcher, a reporter seeking “film truth.” As Nichols states on page 118, “what we see is what we can see only when a camera, or filmmaker, is there instead of ourselves.” This leads to the debate of staging (an entirely different question!) As a reflection, the filmmaker incorporates a more testimonial style that is most commonly done in the first-person voice. This style, unlike investigative, watches events unfold.
There are two main styles in the participatory mode that represent the filmmaker’s intent. One is that the filmmaker tries to portray their representation of interaction with their surroundings and environment. The other is the filmmaker trying to portray social issues or historical events by using interviews and footage.
A great example of the first creative style is Vertov’s The Man with a Movie Camera. You see the filmmaker doing what he loves as he interacts with his environment. The film is definitely open-ended and leaves room for open discussion.
An example of the second style is on a documentary about the Dali Lama (I viewed it in my Religions of the East course with Dr. Spath.) It covered the life of the 13th Dali Lama and explored the challenges he faced. It was a reflection of his life that included interviews from people who knew him and live footage from some of his journeys and celebrations.
Response #2 – My response to Bowdee’s answer
This was a very well-written response with good eye to detail. As with David’s answer, there was no correlation of the associational form expressing an attitude or mood. Maybe I’m the only one that sees this as an important quality. But, I can’t help but think that a movie is produced just for the pretty pictures. The pictures and combination of them must create something. In the associational form, juxtaposing images creates the attitude of the film or the mood it wants the viewer to experience.
A portion of the answer I found intriguing was the way you discussed a part of the abstract film. You stated “Many viewers enjoy the challenge of trying to figure out how the different variations on the same theme interact with one another.” This was very well put and I completely agree. This is what makes abstract films great and separates them from other forms.
As for the film examples, Wild Wheels was given as an example for the categorical film. But why was this film so successful? What did the filmmaker do that kept the attention of the audience? Since boredom is easily accessible with categorical films, the filmmaker must have done something unique to keep the viewer. I assume flashy colors, quick cuts drag racing, etc., may have been included to assist the films cause.