This document provides an overview of documentary photography. It discusses the history of documentary photography from its earliest forms to photojournalism in wars. It profiles several influential documentary photographers like Larry Clark, Richard Billingham, Fay Godwin, and Martin Parr. It also provides definitions of documentary photography as attempting to produce truthful, objective pictures that chronicle significant events or aspects of life. Finally, it suggests possible themes students could explore for documentary photography projects, such as documenting jobs, friends, local issues, or events.
Documentary photography[use this one for as]Simon Gummer
Documentary photography aims to chronicle significant historical events through truthful, objective, and candid photos of people and subjects. It is typically practiced by professional photojournalists but can also be an amateur, artistic, or academic pursuit. Early photography like daguerreotypes was a form of documentary photography as it recorded the surrounding world.
The document discusses 6 styles or modes of documentary filmmaking:
1. Observational documentary aims to observe real life with minimal interference, dating back to the 1960s with portable cameras and equipment. It uses minimal commentary and may include reenactments.
2. Expository documentaries present a strong argument or perspective through voiceover and titles directly addressing the audience. Images support the commentary's objective perspective.
3. Participatory documentaries include the filmmaker as part of the film, showing how their presence affects the situation. This approach believes filming cannot avoid influencing events.
4. Performative documentaries stress subjective experience and emotional responses, and may include hypothetical enactments of perspectives.
5.
Documentary photography aims to document reality and raise awareness of social issues. Early photographers like Jacob Riis and Lewis Hine used images to explore societal problems. During the Great Depression, the Farm Security Administration hired photographers to "bring America to Americans" and highlight poverty in the Midwest. However, their images were sometimes staged to elicit particular emotional responses. While documentary photography intends to present the truth, the process can involve construction and symbolism. Photographers must choose frames and moments that may not fully capture reality. Today, documentary photography continues to have power but also risks moral exhaustion or cynicism.
This document discusses the technique of montage in film editing. It begins by defining montage as editing together short shots to compact space, time, and information. It then discusses the development of montage, particularly in Soviet films of the 1920s, where directors like Eisenstein and Vertov used montage to tell stories or illustrate ideas through juxtaposing images. The document outlines key aspects of Soviet montage theory and how it was shaped by the political context in Russia after the Bolshevik Revolution. It provides examples of famous Soviet montage sequences and discusses how the technique was later adapted by modern filmmakers.
Documentary photography aims to chronicle significant historical events and tell stories about the human condition through truthful, objective, and candid images, often of people. Some of the most notable documentary photographers include Matthew Brady who documented the Civil War, Jacob Riis who brought attention to impoverished conditions in New York City in the late 1800s, and Dorothea Lange who was known for her Depression era photojournalism for the Farm Security Administration.
Documentary Photography artist research, meanings and sub genresJaskirt Boora
This document provides an overview of documentary photography, including its definition and various subgenres. Documentary photography aims to provide a factual record or report of real events through photographs and sometimes accompanying text. Some key subgenres discussed include portrait, social documentary, documentary landscape, photojournalism, street photography, sports photography, and identification photography. The document also profiles several influential documentary photographers such as Henri Cartier-Bresson, Robert Doisneau, Dorothea Lange, Don McCullin, and Richard Billingham.
The presentation talks about the filmmaking movements in the history of world cinema. it highlights the french style of characterization which potrayals the psychological depth in the story progression
This document provides an overview of documentary photography. It discusses the history of documentary photography from its earliest forms to photojournalism in wars. It profiles several influential documentary photographers like Larry Clark, Richard Billingham, Fay Godwin, and Martin Parr. It also provides definitions of documentary photography as attempting to produce truthful, objective pictures that chronicle significant events or aspects of life. Finally, it suggests possible themes students could explore for documentary photography projects, such as documenting jobs, friends, local issues, or events.
Documentary photography[use this one for as]Simon Gummer
Documentary photography aims to chronicle significant historical events through truthful, objective, and candid photos of people and subjects. It is typically practiced by professional photojournalists but can also be an amateur, artistic, or academic pursuit. Early photography like daguerreotypes was a form of documentary photography as it recorded the surrounding world.
The document discusses 6 styles or modes of documentary filmmaking:
1. Observational documentary aims to observe real life with minimal interference, dating back to the 1960s with portable cameras and equipment. It uses minimal commentary and may include reenactments.
2. Expository documentaries present a strong argument or perspective through voiceover and titles directly addressing the audience. Images support the commentary's objective perspective.
3. Participatory documentaries include the filmmaker as part of the film, showing how their presence affects the situation. This approach believes filming cannot avoid influencing events.
4. Performative documentaries stress subjective experience and emotional responses, and may include hypothetical enactments of perspectives.
5.
Documentary photography aims to document reality and raise awareness of social issues. Early photographers like Jacob Riis and Lewis Hine used images to explore societal problems. During the Great Depression, the Farm Security Administration hired photographers to "bring America to Americans" and highlight poverty in the Midwest. However, their images were sometimes staged to elicit particular emotional responses. While documentary photography intends to present the truth, the process can involve construction and symbolism. Photographers must choose frames and moments that may not fully capture reality. Today, documentary photography continues to have power but also risks moral exhaustion or cynicism.
This document discusses the technique of montage in film editing. It begins by defining montage as editing together short shots to compact space, time, and information. It then discusses the development of montage, particularly in Soviet films of the 1920s, where directors like Eisenstein and Vertov used montage to tell stories or illustrate ideas through juxtaposing images. The document outlines key aspects of Soviet montage theory and how it was shaped by the political context in Russia after the Bolshevik Revolution. It provides examples of famous Soviet montage sequences and discusses how the technique was later adapted by modern filmmakers.
Documentary photography aims to chronicle significant historical events and tell stories about the human condition through truthful, objective, and candid images, often of people. Some of the most notable documentary photographers include Matthew Brady who documented the Civil War, Jacob Riis who brought attention to impoverished conditions in New York City in the late 1800s, and Dorothea Lange who was known for her Depression era photojournalism for the Farm Security Administration.
Documentary Photography artist research, meanings and sub genresJaskirt Boora
This document provides an overview of documentary photography, including its definition and various subgenres. Documentary photography aims to provide a factual record or report of real events through photographs and sometimes accompanying text. Some key subgenres discussed include portrait, social documentary, documentary landscape, photojournalism, street photography, sports photography, and identification photography. The document also profiles several influential documentary photographers such as Henri Cartier-Bresson, Robert Doisneau, Dorothea Lange, Don McCullin, and Richard Billingham.
The presentation talks about the filmmaking movements in the history of world cinema. it highlights the french style of characterization which potrayals the psychological depth in the story progression
Task 4 ) german expressionism and the portrayal of heroes in film noirBarnaby Monahan
German expressionism began in Germany in the early 20th century with films like Der student von Prag in 1913 but World War I isolated German filmmakers, allowing the style to develop independently. German expressionism emphasized expression over narrative through techniques like contrasting light and dark and abstract architectural designs. It flourished in the 1920s but declined after the Nazis rose to power, though it influenced later genres, including American film noir. Film noir heroes are typically flawed men with dark pasts who understand the cynical world but are undone by femme fatales they become involved with.
Documentary photography aims to document reality in an objective or subjective manner. Photographers started using photographs as evidence or documents to bring attention to social issues and reforms. While photojournalism in magazines from the 1920s-1960s aimed for objectivity, individual viewpoints also became important. Documentary photography has been used for social reform, to shock or create beautiful images showing the impacts of life, and to communicate both light-hearted and intimate perspectives. It includes genres like social documentary, photojournalism, and street photography.
The document discusses several modes of documentary filmmaking, including expository, observational, participatory, reflexive, poetic, and performative. It provides examples for each mode. Observational documentaries aim for cinematic realism using available light and handheld cameras. Frederick Wiseman is known for his observational studies of institutions. Participatory documentaries demonstrate the filmmaker's point of view through their engagement with the subject. Reflexive documentaries challenge assumptions by acknowledging the filmmakers. Poetic documentaries aim to create mood through cinematic techniques rather than argue a point. The performative mode emphasizes the filmmaker's personal involvement with the subject.
Deadpan photography aims to remove emotion from emotive subjects to allow objective viewing. It became popular in the 1990s in response to 1980s expressionist art. Deadpan complemented new art spaces in converted industrial buildings. While acknowledged in the 1990s, some had been practicing this style for 50 years. Early practitioners were often German or studied under Bernd Becher, who encouraged independent art over commercial photography. Influential forefathers included Albert Renger-Patsch, August Sander, and Erwin Blumenfeld. Bernd and Hilla Becher's typologies of industrial structures, like water towers and gas tanks, shaped contemporary deadpan, as did their students including Andreas Gursky, Thomas Ruff,
The Lumière Brothers held the first public screening of actuality films in 1895, showing short minute-long films without editing of real events like a train arriving. While not called documentaries at the time due to the term not being used until 1926, their films were limited by the technology of the period. The 1922 film Nanook of the North by Robert Flaherty is considered the first documentary, though it staged some scenes after original footage was lost in a fire. In 1930, John Grierson produced Nightmail about the Nightmail train, applying the term "documentary" he coined to a film that poetically documented its subject in a realistic style.
This document discusses street photography and provides examples from various photographers. Street photography captures aspects of human life and condition in public places using techniques like capturing emotions, color, layering, backgrounds, unusual elements, eye contact, juxtaposition, the decisive moment, details, urban landscapes, framing, leading lines, and more. It also outlines some rights of photographers in public spaces, noting photographers can capture anything in plain view but private property owners can set their own rules, and police need a warrant to view digital photos without consent.
This document discusses the different modes or styles of documentary filmmaking. It identifies and provides examples for several modes: expository, observational, participatory, reflexive, poetic, and performative. Observational documentaries aim for cinematic realism using available light and small cameras to create films with a fly-on-the-wall perspective. Reflexive documentaries make audiences question assumptions by acknowledging the filmmaker's role. Poetic documentaries emphasize visuals over narrative to create an impression through techniques like shot design and rhythm in editing.
France in the 1930s saw three waves of avant-garde cinema movements that experimented with narrative forms and visual styles, including Impressionism, Dadaism, and Surrealism. The third avant-garde was ended by the introduction of sound film which raised production costs. Poetic realism then emerged, combining lyricism and realism through techniques like deep focus shots and sequence shots. Films from this era also explored more complex human relations beyond good and bad guys. Renoir's 1937 film Grand Illusion addressed the senselessness of war and promoted humanism, but was banned in Germany as Goebbels viewed it as cinema's biggest enemy.
1. The transition to sound film in the late 1920s dramatically increased production costs for Hollywood studios and made the industry reliant on major financial backers in New York.
2. Warner Bros. was an early adopter of sound and saw huge profits as a result, allowing it to acquire theaters. Increased profits during this period helped the film industry survive the Great Depression.
3. In response to scandals and calls for censorship in the early 1920s, Hollywood established the Motion Picture Producers and Distributors of America to self-regulate and introduce the Production Code in 1934 to restrict depictions of sex, profanity, and other controversial topics.
Nosferatu was released on March 4th 1922 after being shot in 1921. While the film was praised overall, some critics felt that brighter colors and lighting in some scenes made it less frightening than a horror movie at times. The German expressionist horror film was directed by F.W. Murnau and starred Mack Schreck, Gustav Von, and Alexander Granach.
This document discusses various artworks and artistic movements from 1980 to the early 2000s. It covers topics like contemporary political art, postmodern approaches that reference art history, representations of racial and cultural identity, portraits, drawing techniques, new media art incorporating video and installation, and digital photography. Key artists mentioned include William Kentridge, Felix Gonzalez-Torres, Adrian Piper, Carrie Mae Weems, Roy DeCarava, Lorna Simpson, Kara Walker, Bill Viola, Douglas Gordon, and Jeff Wall.
This PowerPoint presentation summarizes the progression of horror film posters over the years from 1898 to 2013. It shows how posters evolved from simple images with basic fonts and color schemes to more stylized designs with darker colors and finer details that have become recognizable horror film poster conventions focusing on a central image with title text. Key developments included the shift to brighter comic book-like styles in the 1930s-40s, the rise of black and sharper fonts in the 1960s-70s, and the increased use of red and black/white color schemes from the 1990s onward.
Photojournalism involves using images and video in journalism to tell a story in an objective, timely, and narrative way. It requires photographers to make quick decisions while exposed to risks in the field. Henri Cartier-Bresson and Robert Capa were legendary photojournalists, with Cartier-Bresson known for his "decisive moments" and Capa documenting several wars including Normandy. Photojournalism risks life to capture impactful photos that convey important events and stories.
The 1930s and 1940s saw the rise of classic horror films in cinema. With the introduction of sound, films like 1931's Dracula and Frankenstein brought supernatural creatures and special effects to audiences, popularizing the genre. Dracula helped increase publicity for horror films through reports of fainting audiences. Frankenstein and its 1935 sequel Bride of Frankenstein were also financial and critical successes, though World War 2 caused a lull in European horror production during the 1940s. Iconic films from this era like King Kong established the foundations of the horror genre.
Germaine Krull was a pioneering modern photojournalist known for her avant-garde photography from the 1920s to 1940s. She was one of the first photographers to publish single-author photography books, including Métal in 1928 showcasing industrial landscapes. Krull had an unconventional upbringing that influenced her nomadic lifestyle and artistic style, often using a small format camera to capture intimate portraits. Her work featured themes of modern life and she had left-wing political views. Later in life, Krull lived in Southeast Asia and India, converting to Buddhism and aiding the Tibetan exile community.
After WWII, art in Europe explored existential themes through abstract styles like Tachisme and Lyrical Abstraction. Key artists included Jean Dubuffet, who coined the term "Art Brut", focusing on outsider art. Alberto Giacometti created elongated figural sculptures reflecting postwar anxiety. In England, Francis Bacon and others formed the "School of London" known for figurative works. In Japan, the Gutai group pioneered performance and installation works using found materials, influenced by Zen Buddhism. Their goal was an "art of embodiment" reflecting postwar rebuilding.
Understanding cinema:french new wave,italian neorealism and indian parallel c...Faiqa Dabir
Italian Neorealism emerged in post-WWII Italy in response to the difficult economic conditions and desire to portray realism over fascism's rejection of realism. Key directors like Roberto Rossellini and Vittorio De Sica filmed on location using non-professional actors and a documentary style. De Sica's 1948 film Bicycle Thieves is considered the pinnacle of the movement. The French New Wave of the late 1950s rejected classical Hollywood styles through techniques like jump cuts and handheld cameras, influenced by writers at Cahiers du Cinema and the auteur theory. Parallel Indian Cinema emerged in the 1970s as an alternative to commercial Indian cinema, addressing social and political realities through serious themes and naturalism
This exhibition from 1st Nov - 29th Dec at Hamiltons Gallery in London features works by Edward Steichen, Francesca Woodman, and Deborah Turbeville exploring themes of ambiguity, obscurity, isolation, and invisibility. The abstract photographs are open to interpretation by viewers. Deborah Turbeville is known for stylized fashion photography and art books featuring ghostly images conveying isolation. Works by Edward Steichen and Francesca Woodman also explore moods of gloom and convey feelings of isolation through their de-saturated black and white images.
This movie poster for Avatar uses a simple yet striking design. The alien face in rich blue catches the eye with its green staring eye. The title "Avatar" is in a soft, jungle-themed font linking to the film's exotic setting. Dark blue and black colors keep the poster attractive and simple against a plain, mysterious shadow background. Focus is drawn to the key alien image without unnecessary distractions.
The document discusses reflective documentaries and provides examples. Reflective documentaries focus on realism by not hiding production techniques and addressing how they affect the content. For instance, Dziga Vertov's 1929 film Man with a Movie Camera filmed the crew to help viewers understand the construction process. Examples of reflective filmmaking today include the MTV show Catfish, which portrays the production process as half the focus as it tracks online relationships. Louie Theroux's documentaries also employ reflection through his impartial interviews and context about interviewee conduct.
Task 4 ) german expressionism and the portrayal of heroes in film noirBarnaby Monahan
German expressionism began in Germany in the early 20th century with films like Der student von Prag in 1913 but World War I isolated German filmmakers, allowing the style to develop independently. German expressionism emphasized expression over narrative through techniques like contrasting light and dark and abstract architectural designs. It flourished in the 1920s but declined after the Nazis rose to power, though it influenced later genres, including American film noir. Film noir heroes are typically flawed men with dark pasts who understand the cynical world but are undone by femme fatales they become involved with.
Documentary photography aims to document reality in an objective or subjective manner. Photographers started using photographs as evidence or documents to bring attention to social issues and reforms. While photojournalism in magazines from the 1920s-1960s aimed for objectivity, individual viewpoints also became important. Documentary photography has been used for social reform, to shock or create beautiful images showing the impacts of life, and to communicate both light-hearted and intimate perspectives. It includes genres like social documentary, photojournalism, and street photography.
The document discusses several modes of documentary filmmaking, including expository, observational, participatory, reflexive, poetic, and performative. It provides examples for each mode. Observational documentaries aim for cinematic realism using available light and handheld cameras. Frederick Wiseman is known for his observational studies of institutions. Participatory documentaries demonstrate the filmmaker's point of view through their engagement with the subject. Reflexive documentaries challenge assumptions by acknowledging the filmmakers. Poetic documentaries aim to create mood through cinematic techniques rather than argue a point. The performative mode emphasizes the filmmaker's personal involvement with the subject.
Deadpan photography aims to remove emotion from emotive subjects to allow objective viewing. It became popular in the 1990s in response to 1980s expressionist art. Deadpan complemented new art spaces in converted industrial buildings. While acknowledged in the 1990s, some had been practicing this style for 50 years. Early practitioners were often German or studied under Bernd Becher, who encouraged independent art over commercial photography. Influential forefathers included Albert Renger-Patsch, August Sander, and Erwin Blumenfeld. Bernd and Hilla Becher's typologies of industrial structures, like water towers and gas tanks, shaped contemporary deadpan, as did their students including Andreas Gursky, Thomas Ruff,
The Lumière Brothers held the first public screening of actuality films in 1895, showing short minute-long films without editing of real events like a train arriving. While not called documentaries at the time due to the term not being used until 1926, their films were limited by the technology of the period. The 1922 film Nanook of the North by Robert Flaherty is considered the first documentary, though it staged some scenes after original footage was lost in a fire. In 1930, John Grierson produced Nightmail about the Nightmail train, applying the term "documentary" he coined to a film that poetically documented its subject in a realistic style.
This document discusses street photography and provides examples from various photographers. Street photography captures aspects of human life and condition in public places using techniques like capturing emotions, color, layering, backgrounds, unusual elements, eye contact, juxtaposition, the decisive moment, details, urban landscapes, framing, leading lines, and more. It also outlines some rights of photographers in public spaces, noting photographers can capture anything in plain view but private property owners can set their own rules, and police need a warrant to view digital photos without consent.
This document discusses the different modes or styles of documentary filmmaking. It identifies and provides examples for several modes: expository, observational, participatory, reflexive, poetic, and performative. Observational documentaries aim for cinematic realism using available light and small cameras to create films with a fly-on-the-wall perspective. Reflexive documentaries make audiences question assumptions by acknowledging the filmmaker's role. Poetic documentaries emphasize visuals over narrative to create an impression through techniques like shot design and rhythm in editing.
France in the 1930s saw three waves of avant-garde cinema movements that experimented with narrative forms and visual styles, including Impressionism, Dadaism, and Surrealism. The third avant-garde was ended by the introduction of sound film which raised production costs. Poetic realism then emerged, combining lyricism and realism through techniques like deep focus shots and sequence shots. Films from this era also explored more complex human relations beyond good and bad guys. Renoir's 1937 film Grand Illusion addressed the senselessness of war and promoted humanism, but was banned in Germany as Goebbels viewed it as cinema's biggest enemy.
1. The transition to sound film in the late 1920s dramatically increased production costs for Hollywood studios and made the industry reliant on major financial backers in New York.
2. Warner Bros. was an early adopter of sound and saw huge profits as a result, allowing it to acquire theaters. Increased profits during this period helped the film industry survive the Great Depression.
3. In response to scandals and calls for censorship in the early 1920s, Hollywood established the Motion Picture Producers and Distributors of America to self-regulate and introduce the Production Code in 1934 to restrict depictions of sex, profanity, and other controversial topics.
Nosferatu was released on March 4th 1922 after being shot in 1921. While the film was praised overall, some critics felt that brighter colors and lighting in some scenes made it less frightening than a horror movie at times. The German expressionist horror film was directed by F.W. Murnau and starred Mack Schreck, Gustav Von, and Alexander Granach.
This document discusses various artworks and artistic movements from 1980 to the early 2000s. It covers topics like contemporary political art, postmodern approaches that reference art history, representations of racial and cultural identity, portraits, drawing techniques, new media art incorporating video and installation, and digital photography. Key artists mentioned include William Kentridge, Felix Gonzalez-Torres, Adrian Piper, Carrie Mae Weems, Roy DeCarava, Lorna Simpson, Kara Walker, Bill Viola, Douglas Gordon, and Jeff Wall.
This PowerPoint presentation summarizes the progression of horror film posters over the years from 1898 to 2013. It shows how posters evolved from simple images with basic fonts and color schemes to more stylized designs with darker colors and finer details that have become recognizable horror film poster conventions focusing on a central image with title text. Key developments included the shift to brighter comic book-like styles in the 1930s-40s, the rise of black and sharper fonts in the 1960s-70s, and the increased use of red and black/white color schemes from the 1990s onward.
Photojournalism involves using images and video in journalism to tell a story in an objective, timely, and narrative way. It requires photographers to make quick decisions while exposed to risks in the field. Henri Cartier-Bresson and Robert Capa were legendary photojournalists, with Cartier-Bresson known for his "decisive moments" and Capa documenting several wars including Normandy. Photojournalism risks life to capture impactful photos that convey important events and stories.
The 1930s and 1940s saw the rise of classic horror films in cinema. With the introduction of sound, films like 1931's Dracula and Frankenstein brought supernatural creatures and special effects to audiences, popularizing the genre. Dracula helped increase publicity for horror films through reports of fainting audiences. Frankenstein and its 1935 sequel Bride of Frankenstein were also financial and critical successes, though World War 2 caused a lull in European horror production during the 1940s. Iconic films from this era like King Kong established the foundations of the horror genre.
Germaine Krull was a pioneering modern photojournalist known for her avant-garde photography from the 1920s to 1940s. She was one of the first photographers to publish single-author photography books, including Métal in 1928 showcasing industrial landscapes. Krull had an unconventional upbringing that influenced her nomadic lifestyle and artistic style, often using a small format camera to capture intimate portraits. Her work featured themes of modern life and she had left-wing political views. Later in life, Krull lived in Southeast Asia and India, converting to Buddhism and aiding the Tibetan exile community.
After WWII, art in Europe explored existential themes through abstract styles like Tachisme and Lyrical Abstraction. Key artists included Jean Dubuffet, who coined the term "Art Brut", focusing on outsider art. Alberto Giacometti created elongated figural sculptures reflecting postwar anxiety. In England, Francis Bacon and others formed the "School of London" known for figurative works. In Japan, the Gutai group pioneered performance and installation works using found materials, influenced by Zen Buddhism. Their goal was an "art of embodiment" reflecting postwar rebuilding.
Understanding cinema:french new wave,italian neorealism and indian parallel c...Faiqa Dabir
Italian Neorealism emerged in post-WWII Italy in response to the difficult economic conditions and desire to portray realism over fascism's rejection of realism. Key directors like Roberto Rossellini and Vittorio De Sica filmed on location using non-professional actors and a documentary style. De Sica's 1948 film Bicycle Thieves is considered the pinnacle of the movement. The French New Wave of the late 1950s rejected classical Hollywood styles through techniques like jump cuts and handheld cameras, influenced by writers at Cahiers du Cinema and the auteur theory. Parallel Indian Cinema emerged in the 1970s as an alternative to commercial Indian cinema, addressing social and political realities through serious themes and naturalism
This exhibition from 1st Nov - 29th Dec at Hamiltons Gallery in London features works by Edward Steichen, Francesca Woodman, and Deborah Turbeville exploring themes of ambiguity, obscurity, isolation, and invisibility. The abstract photographs are open to interpretation by viewers. Deborah Turbeville is known for stylized fashion photography and art books featuring ghostly images conveying isolation. Works by Edward Steichen and Francesca Woodman also explore moods of gloom and convey feelings of isolation through their de-saturated black and white images.
This movie poster for Avatar uses a simple yet striking design. The alien face in rich blue catches the eye with its green staring eye. The title "Avatar" is in a soft, jungle-themed font linking to the film's exotic setting. Dark blue and black colors keep the poster attractive and simple against a plain, mysterious shadow background. Focus is drawn to the key alien image without unnecessary distractions.
The document discusses reflective documentaries and provides examples. Reflective documentaries focus on realism by not hiding production techniques and addressing how they affect the content. For instance, Dziga Vertov's 1929 film Man with a Movie Camera filmed the crew to help viewers understand the construction process. Examples of reflective filmmaking today include the MTV show Catfish, which portrays the production process as half the focus as it tracks online relationships. Louie Theroux's documentaries also employ reflection through his impartial interviews and context about interviewee conduct.
The document discusses key questions to consider when analyzing film posters, including the main colors, symbols, figures, intended audience, and persuasive techniques used. It also covers different types of posters like teaser and main posters. When analyzing a specific poster, one should look at clues about the narrative, genre, characters, written text like taglines, and how colors and layout are used to provide meaning and attract the intended audience.
This document lists different genres of films and books such as science fiction, love story, fantasy, cartoon, martial arts, comedy, detective story, horror, and adventure story. It asks the reader to identify the genre of each type of film or book. It then asks the reader to recall and remember the different genres that were previously listed.
This document categorizes different types of films including romance, action, adventure, comedy, science fiction, fantasy, musical, horror, thriller, western, biography, animation, and documentary. Some example films are listed under each category such as Pirates of the Caribbean and Indiana Jones for adventure, The Matrix and Star Wars for science fiction, and Harry Potter for fantasy.
The document provides guidance on analyzing film posters and trailers. It includes questions to consider like the use of color, symbols, images, target audience and genre. It discusses how posters are designed to promote films through techniques that attract attention and promise pleasures. Production details and effectiveness of the poster should also be evaluated.
This presentation was designed for a high school film production class - it provides a visual accompaniment to a lecture on Film History. This module covers the period from the beginnings of photography through the early days of exhibition. Projectors and projection techniques are featured.
In 2020 as a result of the Coronavirus Pandemic, I recorded a video of this presentation. Here is the link:https://youtu.be/GQuJJ8QkHQE Please feel free to use it in your classrooms.
The document defines and discusses various film genres and subgenres. It provides examples of primary genres like action, adventure, comedy, crime, drama, epics, horror, musicals, science fiction, war films, and westerns. For each genre, it lists representative subgenres and provides brief descriptive definitions.
The document introduces several poetic modes of documentary filmmaking that emerged in the 1920s as alternatives to traditional linear storytelling. It gives two examples: Leni Riefenstahl's Olympia (1938) which emphasizes visuals to convey an inner truth about the 1936 Berlin Olympics, and Robert Flaherty's Man of Aran (1938) which staged scenes to fit a predetermined narrative rather than purely documenting reality. Both follow the poetic mode of using non-linear editing techniques like juxtaposition and rhythm to evoke meanings and emotions in the audience.
Early films had no editing and consisted of single, static shots. The Lumiere Brothers introduced public film screenings in 1895. Edwin Porter pioneered narrative storytelling and continuity editing in films like The Great Train Robbery in 1903. D.W. Griffith further advanced editing techniques with groundbreaking films like The Birth of a Nation. Soviet montage editing, developed by Eisenstein, focused on juxtaposing shots to imply meanings and was influential. Modern nonlinear editing systems now simplify the editing process.
Chapter 5 of a university course in media history by Prof. Bill Kovarik, based on the book Revolutions in Communication: Media History from Gutenberg to the Digital Age (Bloomsbury, 2nd ed., 2015).
The document discusses the history and development of film editing. It begins with definitions of editing and its uses. Early films had single static shots without editing. The Lumiere brothers developed the Cinematographe which combined a camera, printer and projector. Edwin Porter directed early films that used continuity editing techniques. D.W. Griffith developed innovative techniques like close-ups and cross-cutting at Biograph Studios. Soviet filmmakers like Eisenstein developed montage editing theories based on Kuleshov's experiments. Sound editing developed with films like The Jazz Singer containing synchronized dialogue and singing. Technologies like Moviolas and flatbed editors enabled nonlinear editing.
This document provides an overview of the history and development of film editing. It discusses early films from the Lumiere brothers that consisted of single static shots. Edwin Porter introduced continuity editing in films like The Great Train Robbery by combining multiple shots into a coherent narrative. D.W. Griffith further advanced editing techniques at Biograph, using cross-cutting between scenes. Soviet filmmakers like Eisenstein and Kuleshov developed montage editing, using juxtaposition of shots to imply meanings and condense time/space. Montage became a key technique in propaganda films to stimulate audiences.
This document provides 50 questions for the BIFFES World Cinema Quiz. It includes questions about films, directors, actors, and other personalities from world cinema. The questions cover topics from a wide range of countries and eras of film history. It also provides some context about the quiz itself, such as that it has 50 questions, is all written, and ties are broken by stars.
Editing has evolved significantly over time from early films with no editing to modern techniques. Early films had no editing and were single shots showing activity. The Lumiere brothers developed the first motion picture camera and projector. Edwin Porter introduced dissolves between shots in 1903. D.W. Griffith developed continuity editing to seamlessly match shots. Soviet montage editing used collision of shots to convey ideas. Sound editing began with recordings and The Jazz Singer in 1927 introduced synchronized dialogue. Modern editing is done digitally on computers with advanced software.
Review the following resource John Cage – 433 for piano (1952)josephineboon366
Review the following resource:
John Cage – 4'33" for piano (1952)
In previous time periods, composers generally followed the accepted style of the time. This concept of time changed in the twentieth century, especially as many composers left Europe due to the world wars and settled in the United States. Rather than following a set style, composers were more concerned with creating their own style. In the early part of the twentieth century, we had many “-isms”: impressionism, expressionism, serialism, and so on. But there was one composer who challenged us on our concept of what music really is.
Discuss whether or not you agree with John Cage’s portrayal of “music” in 4'33".
Choose Claude Debussy and find a composition by the composer and describe what characteristics place the composition in its specific style. Discuss how the musical elements in the twentieth century are different from the earlier time periods. Do composers still use the musical elements in the same way, or have they succeeded in creating new uses for them?
Discussion 2
The Vietnam War
Write a paragraph using at lease five complete sentences that answer the following questions.
Suppose that the United States had begun "Operation Rolling Thunder" in 1946 in order to help the French regain their colony instead of in 1965. How would that impact American foreign policy at the time and today?
...
The document defines documentaries as motion pictures that shape factual material for purposes of education or entertainment. It provides a brief history of documentaries from the first actualities filmed by the Lumiere brothers in 1895 to modern documentary films. It also outlines the six main types of documentaries: poetic, expository, observational, participatory, reflexive, and performative. Key features of documentaries are discussed such as their purpose to inform or educate through original footage and minimal crew involvement. Steps for producing a documentary are listed as selecting a topic, researching, writing a script, collecting images, constructing the presentation, adding music, and previewing and editing.
The document provides a history of poetry film, from one of the earliest examples in 1905 adapting Clement Clarke Moore's "A Visit from St. Nicholas" to silent films set to poems in the 1920s. It discusses several pioneering poetry films and filmmakers that combined images, poetry, and sound in experimental ways. More recently, developments in video and digital technologies have enabled more artists and poets to create poetry films and multimedia works that blend words and moving images.
The document outlines the history of documentaries from the earliest films in the late 19th century to the 1970s. It notes that the earliest films were literal documentaries without narrative, while Robert Flaherty's 1922 film Nanook of the North is considered the first documentary film with a narrative structure. In the 1960s, lightweight cameras allowed a new style called cinéma vérité or direct cinema that aimed to capture reality with minimal interference. Key filmmakers like Jean Rouch, D.A. Pennebaker, and the Maysles brothers helped develop this style. Consumer video technology in the 1970s also expanded documentary filmmaking.
Documentary films have taken many forms since their early beginnings as factual records of events without creative storytelling. Key developments include Robert Flaherty's 1922 film Nanook of the North being considered the first documentary with a narrative, the use of propaganda films during World Wars I and II, the direct cinema movement in the 1960s capturing live events without interference, and contemporary documentaries that explore social and political issues through interviews. Documentaries have evolved from simply recording actualities to utilizing diverse styles and storytelling techniques to examine a wide range of topics.
This biography provides background on Alfred Hitchcock and analyzes key themes and stylistic elements in his films. Hitchcock was born in England in 1899 and was influenced by his Jesuit schooling. He began his career in the film industry in England in the 1920s before moving to America in 1939. The biography examines Hitchcock's recurring themes of mistaken identity, fear, and the dark side of human nature. It also analyzes his signature directorial style which featured suspenseful techniques, German Expressionist influences, and visual motifs seen in later film noir genres. The biography traces Hitchcock's career across his British and American films and his lasting influence on subsequent directors.
There are three main documentary genres described in the document:
1) Reflexive documentaries acknowledge the filmmaker's presence and role in constructing the narrative. They are often experimental in nature.
2) Observational documentaries aim to spontaneously observe real life with minimal intervention. They typically do not include voiceovers, music, or reenactments.
3) Poetic documentaries use impressionistic, fragmented filmmaking to aesthetically reconstruct the world through patterns and associations rather than traditional narrative structures. They focus on evoking emotions rather than following life-like characters.
The document outlines 6 modes of documentary filmmaking: 1) Expository uses narration and commentary to make an argument, 2) Poetic emphasizes emotional and aesthetic qualities over narrative, 3) Observational observes without interfering or commentary, 4) Participatory involves interviewing subjects, 5) Reflexive focuses on the filmmaking process itself, and 6) Performative emphasizes the filmmaker's perspective and participation.
FILM MOVEMENT IN EUROPE slides from David Bordwell's Film ArtKanLume1
The document summarizes several film movements that occurred between 1910-1960s around the world including German Expressionism from 1919-1926, Soviet Montage from 1924-1930, Italian Neorealism from 1942-1951, and the French New Wave from 1959-1967. It provides details on the key characteristics, influences, and notable films of each movement.
The term "art cinema" is one of the most familiar in film studies, marking out simultaneously specific filmmakers, specific films, specific kinds of cinemas, and, for some writers, specific kinds of audiences.
This document discusses the history and elements of cinema. It provides an overview of conventions like establishing shots, close-ups, and sound. Early milestones are noted, including Edison's invention of motion picture cameras and the Lumiere brothers' development of the Cinematographe. Major genres like film noir, romantic comedy, and westerns are also outlined. Influential films are mentioned, such as Citizen Kane and Casablanca, which are considered the top two American films of the 20th century. The concept of an auteur director is defined as well.
Executive Directors Chat Leveraging AI for Diversity, Equity, and InclusionTechSoup
Let’s explore the intersection of technology and equity in the final session of our DEI series. Discover how AI tools, like ChatGPT, can be used to support and enhance your nonprofit's DEI initiatives. Participants will gain insights into practical AI applications and get tips for leveraging technology to advance their DEI goals.
This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
Exploiting Artificial Intelligence for Empowering Researchers and Faculty, In...Dr. Vinod Kumar Kanvaria
Exploiting Artificial Intelligence for Empowering Researchers and Faculty,
International FDP on Fundamentals of Research in Social Sciences
at Integral University, Lucknow, 06.06.2024
By Dr. Vinod Kumar Kanvaria
The simplified electron and muon model, Oscillating Spacetime: The Foundation...RitikBhardwaj56
Discover the Simplified Electron and Muon Model: A New Wave-Based Approach to Understanding Particles delves into a groundbreaking theory that presents electrons and muons as rotating soliton waves within oscillating spacetime. Geared towards students, researchers, and science buffs, this book breaks down complex ideas into simple explanations. It covers topics such as electron waves, temporal dynamics, and the implications of this model on particle physics. With clear illustrations and easy-to-follow explanations, readers will gain a new outlook on the universe's fundamental nature.
This presentation was provided by Steph Pollock of The American Psychological Association’s Journals Program, and Damita Snow, of The American Society of Civil Engineers (ASCE), for the initial session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session One: 'Setting Expectations: a DEIA Primer,' was held June 6, 2024.
How to Fix the Import Error in the Odoo 17Celine George
An import error occurs when a program fails to import a module or library, disrupting its execution. In languages like Python, this issue arises when the specified module cannot be found or accessed, hindering the program's functionality. Resolving import errors is crucial for maintaining smooth software operation and uninterrupted development processes.
বাংলাদেশের অর্থনৈতিক সমীক্ষা ২০২৪ [Bangladesh Economic Review 2024 Bangla.pdf] কম্পিউটার , ট্যাব ও স্মার্ট ফোন ভার্সন সহ সম্পূর্ণ বাংলা ই-বুক বা pdf বই " সুচিপত্র ...বুকমার্ক মেনু 🔖 ও হাইপার লিংক মেনু 📝👆 যুক্ত ..
আমাদের সবার জন্য খুব খুব গুরুত্বপূর্ণ একটি বই ..বিসিএস, ব্যাংক, ইউনিভার্সিটি ভর্তি ও যে কোন প্রতিযোগিতা মূলক পরীক্ষার জন্য এর খুব ইম্পরট্যান্ট একটি বিষয় ...তাছাড়া বাংলাদেশের সাম্প্রতিক যে কোন ডাটা বা তথ্য এই বইতে পাবেন ...
তাই একজন নাগরিক হিসাবে এই তথ্য গুলো আপনার জানা প্রয়োজন ...।
বিসিএস ও ব্যাংক এর লিখিত পরীক্ষা ...+এছাড়া মাধ্যমিক ও উচ্চমাধ্যমিকের স্টুডেন্টদের জন্য অনেক কাজে আসবে ...
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Physiology and chemistry of skin and pigmentation, hairs, scalp, lips and nail, Cleansing cream, Lotions, Face powders, Face packs, Lipsticks, Bath products, soaps and baby product,
Preparation and standardization of the following : Tonic, Bleaches, Dentifrices and Mouth washes & Tooth Pastes, Cosmetics for Nails.
Strategies for Effective Upskilling is a presentation by Chinwendu Peace in a Your Skill Boost Masterclass organisation by the Excellence Foundation for South Sudan on 08th and 09th June 2024 from 1 PM to 3 PM on each day.
Assessment and Planning in Educational technology.pptxKavitha Krishnan
In an education system, it is understood that assessment is only for the students, but on the other hand, the Assessment of teachers is also an important aspect of the education system that ensures teachers are providing high-quality instruction to students. The assessment process can be used to provide feedback and support for professional development, to inform decisions about teacher retention or promotion, or to evaluate teacher effectiveness for accountability purposes.
2. Documentary Modes
The concept of documentary modes was developed
by Bill Nichols in his classic 2001 book, Introduction
to Documentary.
Rather than analyzing categories of documentaries
in terms of genre, Nichols proposes “modes” as a
way of describing how docs engage with the actual
world, usually in an effort to express a sense of
“authenticity.”
Modes become dominant during certain historical
periods in response to technological, social, and
political change.
Modes are not mutually exclusive. One mode is
usually dominant, but a given documentary may
have characteristics of several modes.
3. Poetic mode (origins: 1920s)
Associated with Soviet montage theory and French
Impressionist cinema
Usually lack a clear narrative
Characters and events are undeveloped in favor of
establishing a mood or tone
Poetic documentaries avoid continuity editing in
favor of rhythmic editing techniques.
Examples:
JorisIvens’ Regen (1929):
http://www.youtube.com/watch?v=oPD2C0K38jY
Godfrey Reggis’sKoyannisqatsi (1982):
http://www.youtube.com/watch?v=-uAiHSlUUIc
4. Expository documentary (1930s)
Often serve a rhetorical purpose to disseminate
information to or persuade audiences
Frequently used voice-over narration (often described as
voice-of-God narration because narrator is omniscient
and onmipresent—think Morgan Freeman!). Emerged in
part due to rise of sound cinema.
Uses what Nichols calls “evidentiary editing” where
images serve as evidence of narrative/observation.
Examples:
Pare Lorentz’ The River (1937):
http://www.youtube.com/watch?v=-uAiHSlUUIc
Watt and Wright’s Night Mail (1936):
http://www.youtube.com/watch?v=-uAiHSlUUIc
Features poem by British poet W.H. Auden!
5. Observational Mode (late 1950s)
Developed in response to perceived artificiality of
expository documentaries and made use of modern,
mobile camera equipment and sound recorders.
Fly-on-the-wall style. Very few cuts, no voice-over
narration, no non-diegetic music, no scene
arrangement.
Viewers were invited to watch and reach their own
conclusions.
Examples:
D.A. Pennebaker’s Don’t Look Back (1967):
http://www.youtube.com/watch?v=WH55dLua9E0
Frederick Wiseman’s Titicut Follies (1967):
http://www.youtube.com/watch?v=OT3NLw2IPPw
6. Participatory Mode (1970s-80s)
Acknowledge the role of the the filmmaker in
creating meaning
The filmmaker/director often appears on-screen and
frames documentary as his or her subjective
experience, becoming a social actor like those who
appear on screen
Examples:
Ross McElwee’s Sherman’s March (1986):
http://www.youtube.com/watch?v=RnohMWYXeZ4
Alan Berliner’s Sweetest Sound (2001):
http://www.youtube.com/watch?v=rayfzuObAiA
7. Reflexive Mode (1970s)
Engage with the very techniques of documentary
storytelling (i.e., documentaries about documentary
filmmaking)
Meant to encourage a more critical viewership by
exposing how truth is constructed
Highly skeptical of “realism,” even in documentary
film
Examples:
Trinh Minh-ha’sReassemblage (1983):
http://www.youtube.com/watch?v=FSZaRHg0xVs
Jim McBride’s David Holzman’s Diary (1968):
http://www.youtube.com/watch?v=UDsRhMVpADw
8. Performative Documentaries (1980s)
Stress subjective experience and an emotional
response to the world
Might include hypothetical enactments of events
designed to entice the viewer to experience what it’s
like to share a specific perspective on the world
Examples:
Marlon Riggs’ Tongues Untied (1989):
http://www.youtube.com/watch?v=tWuPLxMBjM8
Jonathan Caouette’sTarnation (2003):
http://www.youtube.com/watch?v=_7YjtX5fcW0