Amy Flashcards
what type of documentarist is Nick Broomfield
investigative, performative, participatory
what type of documentarist is Kim Longinotto
observational
what does Broomfield try to do with his distinctive interview technique
expose people’s real views
what is Longinotto’s film maker theory
wants to create the experience of watching a fiction film using real footage
what are the six philosophical debates in documentary film
objectivity, non-fiction, construction, truth, reality, cinematic
who does Kapadia align the spectator with
the central protagonist, Amy
why can Amy be analysed through gender
Amy is presented as a Damsel in Distress and is partly defined by her love interests, relationships and men-focused music
what is Kapadia’s aesthetic
true fiction
what is true fiction
where the documentary is almost fully constructed out of archival footage and there is a lack of a guiding v/o
what are the six documentary modes
expository, observational, poetic, reflexive, participatory, performative
what defines an expository documentary
features an authoritative v/o and conveys a clear pov
what defines an observational documentary
aims to let the camera record without intrusion (possible due to advancements in technology)
what defines a poetic documentary
often non-linear with no clear narrative and relies on juxtaposition of images and sound to create mood and tone and convey the filmmakers messages in abstract ways
what defines a reflexive documentary
draws attention to the construction and often shows the film making process, can appear to be transparent
what defines a participatory documentary
includes direct engagement between film maker and subject (express their perspective)
what defines a performative documentary
usually personal and often focus on subjective truths that are significant to the film maker
what documentary modes does Amy fit into
observational and poetic
what documentary modes does Kurt and Courtenay fit into
performative and participatory
how are Broomfields films fictional
has a score, breaks the 4th wall, uses straight cuts
how are Broomfield’s films non-fictional
leaves in mistakes, focuses on a tragic persons life, diegetic dialogue, archival footage
why is Longinotto not in front of the camera
wants the spectator to be placed in her POV as to elicit an emotional response
what is Broomfield’s film maker theory
wants the spectator to make up their own mind on the subject (like Kapadia)
what type of documentary modes does Kapadia fit into
poetic, reflexive, expository
what are the consequences of being able to film for hours
can be more truthful but also less due to editing
how has cheap portable technology affected film makers
possible to present alternative ideologies to make the documentary more objective
how is Longinotto different to Kapadia
- uses actuality
- only uses V/O to provide exposition/context
why does Kapadia use V/O
to push the narrative
how are Kapadia’s and Longinotto’s approaches similar
- allow subjects to speak
- no film maker presence
- central protagonists are vulnerable women
how are Broomfield and Kapadia similar
- use interviews
- use archival footage
- uses the singers songs/relevant music
how are Broomfield and Kapadia different
- interviews drive the film
- Broomfield is investigative and chaotic
- Broomfield leaves in mistakes
what are the aesthetics of Amy
- true fiction
- blame
- violent impact of fame
- waste of talent
