Digital Debates Flashcards

1
Q

What is the purpose of the Director of Photography ?

A

helps the director achieve the look of the film

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
2
Q

What is meant by the term dailies?

A

unedited footage of what was filmed that day

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
3
Q

What does resolution depend on?

A

the number of pixels - the more pixels, the higher the quality

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
4
Q

How many pixels does a typical SD camera typically have?

A

720x480 pixels

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
5
Q

How many pixels does a typical HD camera typically have?

A

1920 pixels across

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
6
Q

What is the job of the colourist/colour timer?

A

makes adjustments to the look of the film; they work with the director and the DoP to fit their desired visuals

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
7
Q

What is dynamic range?

A

the ability to capture darkness (key criticism)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
8
Q

How far has streaming impacted on the way we consume film?

A

Films are more accessible: allows an individual to watch a film on their own

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
9
Q

What is the benefit of celluloid when compared to digital archiving?

A

you can keep physical copies of celluloid, whereas archiving will result in a loss of footage in a century or so

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
10
Q

Summary of Digital Technology in Amy

A
  • little original footage shot: consists of captioned establishing shots of London with either a helicopter/drone. offer a brief counterpoint to the rest of the films style
  • ‘Amy’ is clearly the work of a number of filmmakers - Kapadia has amassed a lot of archive footage from media sources and placed these alongside more personal insights into Amy’s life
  • combination of analogue and some early digital recordings of Amy from her friends and family; offer a revealing perspective on her life
  • controversial aspects of her life eg her bulimia, addictions and relationship with Blake
  • we only hear the interviewees and never see them
  • manipulation and montage effect of using footage alongside the interviews is what gives the film its power
  • exposes how even before her fame, Amy’s existence was being documented through the use of digital technology
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
11
Q

How might Kapadia have told Amy’s story differently?

A
  • include footage of interviewees; would have places less focus on Amy
  • could have included re-enactments
  • could have included himself; more interactive so more bias
  • could have been non-chronological
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
12
Q

Objectivity in Amy

A
  • editing is influenced by Kapadia’s personal feelings; the story he wants to tell
  • subjective; portrayed Blake and Mitch in a negative light, misses context
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
13
Q

Non-fiction in Amy

A
  • archive footage used
  • raw footage taken out of context: Kapadia did edit and place clips in a particular order and way, cut snippets out of real interviews
  • Key scene of Amy’s death; a real event
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
14
Q

Construction in Amy

A
  • adding lyrics and names onto the screen: allows key events and people to be introduced
  • construction of sound during Back to Black scene: technology is used to add studio recording to enhance the scene
  • archival footage: without technology, this would not exist
  • voiceovers
  • linear: follows Amy’s life chronologically from a montage of found footage from her childhood to her death
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
15
Q

Truth in Amy

A
  • based on real events
  • chronological: life and career through to death
  • interpreted by spectator
  • still images: closing montage with credits
  • puts certain people in a negative light
  • interviews of people close to her: first hand account
  • archive footage
  • no bias, Kapadia doesn’t give his opinion
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
16
Q

Reality in Amy

A
  • news footage portrayed of Amy shows the reality of how she was seen and treated
  • Amy’s phone footage is raw and recorded solely for capturing the memory: shows the reality of her personality
  • interviews show the reality of her fame and the real negative effect it had on her
  • paparazzi pictures used to show her real and vulnerable moments ie when under the influence
  • after her death the paparazzi sound the house: shows the poor treatment of her
17
Q

Manipulation in Amy

A
  • can manipulate footage to align the spectator with/against a certain person/narrative
  • it is easier to manipulate images with a digital camera eg limited colour manipulation available photochemically on celluloid
18
Q

Fiction in Amy

A
  • Kapadia has stricter home videos and chose to cut them at specific points; creates narrative
  • recreations are less fictional
  • characters fit archetype eg Blake as the villain
  • reality doesn’t have a specific narrative. but a film on narrative is quite useful
19
Q

Spectator positioning in Amy

A
  • the media is demonised due to use of digital effects, showing newspaper pictures in chronological order and the cruel portrayal of her deterioration
  • the spectator is positioned against Mitch and Blake; we have sympathy for Amy
20
Q

Key points for wider reading

A
  • Kapadia: “I know when someone’s telling me something true and when they’re making it up. I know when they’re putting themselves in her life.”
  • 100 people interviewed and 20 months of editing: took 3 years to make
  • Mitch: “the film is trying to portray me in the worst possible light”
  • Mitch also says the interviews he gave for the film were edited and the film-makers were “a disgrace”
  • Kapadia: Amy was born at the wrong time, caught on the cusp of an analogue and digital world where notions of privacy were changing rapidly