P 371-372- Caitlin Cande
Overview

- Formalistic editing in Mon Oncle d'Amerique

- Non-fictional Narratives

- Documentary/Avant-garde intro
- Documentary in-depth

- cinema verite- direct cinema- movement

(con't from formalistic narratives)
An example of formalistic narrativeis Mon Oncle d’Amerique- it uses Goddard’s essay form, combining elements from documentary and avant-garde style with fiction. Combining fiction with nonfiction, he discusses stuff from what would be Psychology 101. With autonomous, self-directing, characters who barely understand their dilemmas, he comments on human behavior, biology, behavior-modification theories etc. ‘In a kaleidoscope of shifting perspectives’, he doesn’t tell a story, or not in the fictional sense, he mixes different things from all different themes of the characters lives.

Non-fictional Narratives
Documentary- non-fictional, usually doesn’t tell a story, or not in the fictional sense- structured without a plot- story is often structured to a theme or argument
Avant-garde – structured without a plot- non-fictional- usually doesn’t tell a story in the fictional sense- story is often a matter of the filmmaker’s subjective instincts. More abstract films- the point is not necessarily to tell something, but focus on the beauty of something (often film) itself.
Documentaries are reporting on current world, not creating a different world. Many documentaries keep structure simple and unobtrusive, as not to detract from the truth of the movie with emotions in the editing. They want their version to be just as random as life. Just like realism and formalism, although documentarists would say they focus on content not style.
Cinema verite- direct cinema- movement in documentaries in the 1960’s – television crews needed video quickly and efficiently so new technology developed and the new philosophy of truth in documentary cinema. (cinema verite example and explanation)

JFK (USA, 1991), with Kevin Costner written and directed by Oliver Stone- Historical account of president, but all history emits details and embellishes some. Film was told from DA Jim Garrison’s point of view- offers a possible explanation for a national tragedy that was never fully explained to the public.












pg. 373-374 by Jason Gomez

Because of the need to capture news events quickly, like for docummentary pieces or breaking news, reporters' equipment evolved. The equipment included the following:

• A lightweight 16-mm camera which enables the cinematographer to move with ease

• Flexible zoom lenses, which allows the cinematographer to go from 12-mm wide-angle positions to 120-mm telephoto positions in one adjusting bar

• New fast film stocks, permitting scenes to be photographed without the need to set up lights

• A portable tape recorder, allowing a technician to record sound directly in automatic synchronization with the visuals

This equipment is so easy because only two people are needed; one person with the sound and one with the camera.

Zoom Lens- a lens of variable focal length that permits the cinematographer to change from wide-angle to telephoto shots in one continuous movement, often plunging the viewer in or out of a scene rapidly.
Wide-Angle Lens- a lens that permits the camera to photograph a wider are than a normal lens. A side effect is its tendency to exaggerate perspective. Also used for deep-focus photography.
Telephoto Lens- a lens that acts as a telescope, magnifying the size of objects at a great distance. A side effect is its tendency to flatten perspective.
Fast Film Stocks- Film stock that's highly sensitive to light and generally produces a grainy image. Often used by documentarists who wish to shoot only with available lighting.
Synchronized Sound- The agreement or correspondence between image and sound, which are recorded simultaneously, or seem so in the finished print. Synchronous sounds appear to derive from and obvious source in the visuals.





Welcome to Sarajevo (Britain/U.S.A., 1997), based on the true story of some British and American journalists covering the Bosnian was in Sarajevo, in what used to be Yugoslavia. The reporters use hand held cameras and tape recorders.

















Monica F pg. 375-376

In these few pages they mentioned lengthy takes. Lengthy takes are when shots are taken in real time and not much sound. Editing was usually kept to a minimum. Cinema verite also uses sound minimally. Usually off-screen narration is added. Soviet filmmaker Dziga-Vertov, who was a propagandist, believed that the veiwers should have an ideological perspective. He wrote, "Art, is not a mirror which reflects historical struggle, but a weapon of the struggle.".

Film References:

The Kid Stays in the Picture (USA 2002) with Robert Evans, directed by Brett Morgan and Nanette Burstein. This film is based on Evan's version of what had happened, not including other peoples perspective. An autobiography.

Vance Thorsen pg.377-378

Most avant-garde movies are so unique that it's hard to generalize what one is about. Most don't even tell a story. Most avant-garde artists are more concerned with showing their "inner impulses", their personal and subjective involvements with people, ideas and experiences. they tend to be hard to understand for most audiences because they can create their own language and symbolism. Most avant-garde films aren't written down because the director is also shooting and editing the film. Avant-garde filmmakers like to see spontaneity and chance in the film, so writing out the film would lose this in the film.

One of the main differences between avant-garde and more traditional narratives is that they tend to be more "vertical". this means that they go deeper into what the film is trying to get across to the audience. They are not so much concerned with moving the story forward, like the "horizontal" films. Some avant-garde filmmakers refuse to use any recognizable subject matter. For example, Hans Richter refused to use any narrative. He used just abstract designs and shapes to makee his "absolute film". This was the idea that film should be like art and music, and be left up to the audience to interpret it they way they want.

Hans Richter - Rhythm 23