Everything Else

Question 1

Arose with the modernist avant-garde, It was within the avant-garde that the sense of a distinct point of view or voice took shape

Answer 1

Poetic

Question 2

To see the world anew, making the familiar strange and the strange familiar

Answer 2

Poetic

Question 3

The filmmaker’s way of seeing things takes higher priority than demonstrating the camera’s ability to record what it saw faithfully and accurately

Answer 3

Poetic

Question 4

Emphasizes visual associations, tonal or rhythmic qualities, descriptive passages, and formal organization

Answer 4

Poetic

Question 5

Stresses form and pattern over an explicit argument, even though it may have an implicit perspective on some aspect of the historical world

Answer 5

Poetic

Question 6

Breaks with continuity editing to build patterns that simulate the look and feel of real-world activities and processes

Answer 6

Poetic

Question 7

Sacrifices the conventions of continuity editing and the sense of a specific location in time and place that follows from such editing

Answer 7

Poetic

Question 8

Explores associations and patterns that involve temporal rhythms and spatial juxtapositions

Answer 8

Poetic

Question 9

Stresses mood, tone, and affect much more than displays of factual knowledge or acts of rhetorical persuasion

Answer 9

Poetic

Question 10

We learn by affect or feeling, by gaining a sense of what it feels like to see and experience the world in a particular way

Answer 10

Poetic

Question 11

Sometimes breaks up time and space into multiple perspectives

Answer 11

Poetic

Question 12

Denies coherence to personalities vulnerable to eruptions from the unconscious

Answer 12

Poetic

Question 13

Often refuses to provide solutions to insurmountable problems, which has a sense of honesty

Answer 13

Poetic

Question 14

Emphasizes voice-over or a voice-of-authority commentary

Answer 14

Expository

Question 15

Emphasizes a problem / solution structure, and argumentative logic

Answer 15

Expository

Question 16

Assembles fragments of the historical world into a more rhetorical or narrative frame

Answer 16

Expository

Question 17

Addresses of the viewer directly, with titles or voices that tell a story, propose a perspective, or advance an argument

Answer 17

Expository

Question 18

Some use voice-of-God commentary

Answer 18

Expository

Question 19

Rely heavily on an informing logic carried by the spoken word

Answer 19

Expository

Question 20

Images serve a supporting role

Answer 20

Expository

Question 21

The commentary serves to organize the images, and voice-over commentary make sense of them in a way similar to how a written caption guides our understanding of an image

Answer 21

Expository

Question 22

The commentary is presumed to come from someplace that remains unspecified but is associated with objectivity or omniscience

Answer 22

Expository

Question 23

We take our cues from the commentary, and we understand the images as evidence or illustration of what is said

Answer 23

Expository

Question 24

Editing serves more to maintain the continuity of the spoken argument or perspective (called evidentiary editing)

Answer 24

Expository

Question 25

Emphasizes the impression of objectivity and a well-supported perspective

Answer 25

Expository

Question 26

Commentators tone strives to build a sense of credibility from qualities such as detachment, neutrality, disinterestedness, or omniscience

Answer 26

Expository

Question 27

Ideal mode for conveying information or mobilizing support within a framework

Answer 27

Expository

Question 28

Direct address involving the use of a voice that speaks directly to the viewer

Answer 28

Expository

Question 29

The voice represents the view of the filmmaker, a guiding voice taking the viewer through the material

Answer 29

Expository

Question 30

Presents hodge podge of images and footage that only makes sense because of the narration

Answer 30

Expository

Question 31

aka Direct Cinema

Answer 31

Observational

Question 32

Uses a fiction-like stress on the continuity of time and space

Answer 32

Observational

Question 33

Uses synchronous sound and seeks to capture what took place in front of the camera

Answer 33

Observational

Question 34

Filmmakers seek to exert minimal influence on what takes place in front of the camera

Answer 34

Observational

Question 35

Avoids interviews, voice-over, and often diegetic music or montage-style editing

Answer 35

Observational

Question 36

Seek out events likely to occur in the form they do whether a camera is present or not

Answer 36

Observational

Question 37

Give a vivid sense of what it feels like to share the specific world of particular individuals at a given moment in time

Answer 37

Observational

Question 38

The filmmaker does not interact with subjects but only observes them

Answer 38

Observational

Question 39

Emphasizes a direct engagement with the everyday life of subjects as observed by an unobtrusive camera

Answer 39

Observational

Question 40

aka Cinema Verité

Answer 40

Participatory

Question 41

Relies on synchronous sound and building scenes with a sense of continuity

Answer 41

Participatory

Question 42

Filmmaker is an openly integral part of what happens in front of the camera

Answer 42

Participatory

Question 43

Interviews are a staple – filmmaker interacts with the subject

Answer 43

Participatory

Question 44

No voice-over, relies on filmmaker’s interaction with subject

Answer 44

Participatory

Question 45

Emphasizes the interaction between filmmaker and subject

Answer 45

Participatory

Question 46

Filming takes place by means of interviews or other forms of even more direct involvement, such as conversations or provocations

Answer 46

Participatory

Question 47

This mode is often coupled with archival footage to examine historical issues

Answer 47

Participatory

Question 48

Draws attention to the type of film a documentary is

Answer 48

Reflexive

Question 49

Makes the viewer aware of the documentary conventions, expectations, and assumptions that usually go unspoken

Answer 49

Reflexive

Question 50

Stimulates reflection on the viewing process and how it differs from viewing a fiction film

Answer 50

Reflexive

Question 51

The filmmaker may interact with the subjects, it may include interviews – but this is done with an eye to prompting viewers to think about the normal conventions that govern interviews

Answer 51

Reflexive

Question 52

May show the process of creating the film, the labor that goes into it

Answer 52

Reflexive

Question 53

Stresses intellectual engagement with aspects of the filmmaking experience

Answer 53

Reflexive

Question 54

Calls attention to the assumptions and conventions that govern documentary filmmaking

Answer 54

Reflexive

Question 55

This mode increases our awareness of the constructedness of the film’s representation of reality

Answer 55

Reflexive

Question 56

Intensified level of reflection on what representing the world involves

Answer 56

Reflexive

Question 57

Calls into question the motto that a documentary film is only as good as it content is

Answer 57

Reflexive

Question 58

Attends to HOW we represent the historical world as well as to WHAT gets represented

Answer 58

Reflexive

Question 59

Instead of seeing through documentaries to the world beyond, these documentaries asked us to see documentary for what it is: a construct or a representation

Answer 59

Reflexive

Question 60

Tackles issues posed by realism as a style — realism seems to provide unproblematic access to the world; takes form as physical, psychological, and emotional realism through techniques of evidentiary or continuity editing, character development, and narrative structure

Answer 60

Reflexive

Question 61

Most self- conscious and self-questioning mode of representation

Answer 61

Reflexive

Question 62

Questions Realist access to the world, the ability to provide persuasive evidence, the possibility of indisputable proof, the indexical bond between an indexical image and what it represents

Answer 62

Reflexive

Question 63

Prods the viewer to a heightened form of consciousness about his or her relation to documentary and what it represents

Answer 63

Reflexive

Question 64

Sets out to readjust the assumptions and expectations of its audience more than to add new knowledge to existing categories

Answer 64

Reflexive

Question 65

Aims for audience to achieve a heightened form of consciousness, involves a shift in levels of awareness

Answer 65

Reflexive

Question 66

Let’s reflect on HOW what you see and hear gets you to believe in a particular view of the world”

Answer 66

Reflexive

Question 67

Produces an “aha” effect, where we grasp a principle or structure at work that helps account for how we understand and represent the world

Answer 67

Reflexive

Question 68

Stresses emotional involvement with what it is like to witness a particular kind of experience

Answer 68

Performative

Question 69

Rely less heavily on commentary to convey information than on form to convey emotion

Answer 69

Performative

Question 70

They may imply that knowledge of the world is incomplete without a sense of affective engagement to complement intellectual comprehension

Answer 70

Performative

Question 71

Often invites an emotional response as well as cognitive understanding

Answer 71

Performative

Question 72

Stresses the affective dimension to lived experience

Answer 72

Performative

Question 73

Often used to show experiences of discrimination, prejudice, or oppression

Answer 73

Performative

Question 74

Emphasizes the subjective or expressive aspect of the filmmaker’s own involvement with a subject; It strives to heighten the audience’s responsiveness to this involvement

Answer 74

Performative

Question 75

It rejects the notions of objectivity in favor of evocation and affect

Answer 75

Performative

Question 76

These films share a strong emphasis on what it feels like to inhabit the world in a specific way or as part of a specific subculture

Answer 76

Performative

Question 77

Visuals “prove” the narrator’s argument

Answer 77

Expository

Question 78

Non-synchronous sound (often uses music to announce emotion, rather than dialogue between 2 people)

Answer 78

Expository

Question 79

Evidentiary editing (support your argument with the editing)

Answer 79

Expository

Question 80

Supports the impulse toward generalizations (blanket statements and generalizations about something)

Answer 80

Expository

Question 81

Promotes a social identity based on Bourgeois values

Answer 81

Expository

Question 82

Constructs a cause-effect relationship between events

Answer 82

Expository

Question 83

There is an assumption that the world is productive of facts and that those faces can be communicated to others in a transparent way

Answer 83

Expository

Question 84

Addresses the question of HOW we talk about the world

Answer 84

Reflexive

Question 85

Makes the audience aware of how other modes construct “truth” through documentary practice

Answer 85

Reflexive

Question 86

Adopts an evocative (thus subjective) way of understanding reality

Answer 86

Poetic

Question 87

Moves away from the “objective” reality of a given situation or people to understand an “inner truth” that can only be grasped by poetic manipulation

Answer 87

Poetic

Question 88

Seeks to directly capture reality without recourse to artificial lighting, dramatic music and authoritative voice over

Answer 88

Observational / Direct Cinema

Question 89

"This does not mean the cinema of truth, but the truth of cinema”

Answer 89

Cinéma Vérité (Participatory)

Question 90

Filmmakers highlight their use of the camera and their interaction with the subject

Answer 90

Participatory / Cinéma Vérité

Question 91

Embraces relatively long takes and editing that enhances the impression of real time

Answer 91

Observational

Question 92

Introduces a sense of partialness and local knowledge that derives from the actual encounter of filmmaker and subject(s) in front of the camera

Answer 92

Participatory

Question 93

Editing operates to maintain a logical continuity between individual viewpoints

Answer 93

Participatory

Question 94

Filmmaker becomes a character on screen to shed light on some important issue; use myself to talk about a larger issue

Answer 94

Performative

Question 95

Endorses a definition of knowledge that emphasizes personal experience: how can personal knowledge to help us understand more general processes of society?

Answer 95

Performative

Question 96

It is particularly suited to telling the stories of filmmakers from marginalized social groups

Answer 96

Performative

Question 97

The filmmaker openly discusses his/her perspective

Answer 97

Performative