The document analyzes the documentary film "Amy" about singer Amy Winehouse. It discusses the four styles of documentary films and argues that "Amy" uses a mix of observational and reflective styles but focuses more on her music and entertainment rather than telling her personal story. The film is criticized for possibly compromising some truths for profit and not providing enough context about Winehouse's songwriting and emotional struggles. Reviews from publications like The Guardian and Variety note holes in the story and a lack of editorial voice. In conclusion, the document questions whether truth or profit was the main motive since biographies provide more accurate insights into Winehouse's life.

1. S7234046I | Higher Diploma in Mass Communication with Higher Standing | February 18,
2016
FLM 101 Documentary
AMY – AN OBSERVATION AND CRITIC BY ROBIN STIENBERG TAN

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Amy – The Movie, The Style, and Justice
by Robin Steinberg Tan
In Any documentary, they're four styles of format which audiences need to try to
understand.
Firstly there is Expository
This form of filmmaking is usually traditional where there is only an unseen narrator
performing a voiceover commentary which explains all visuals that we see and is often
associated with wildlife or historical documentaries. The viewer will feel more need of
information about what they see, but not empowered.
Secondly, there is “Interactive” this form of documentary feature certain amount of
interactive in the film, for example, sequences involve with questions asked of them and
being a film where there are interviews, the filmmaker can include or exclude in the
editing process. In this case, the film can be controlled by the director, individuals, and
even stakeholders whether to include or exclude content. But whichever mode anyone
wants such as the case of Amy the documentary Movie – it can certainly provide a model
an act to undermine the interviewees, make them look naïve or degraded. The
interpretation of an event or personal account can also be translated trustworthy or
untrustworthy depending on the content.
Thirdly – Reflective
This style considered as experimental documentaries which filmmakers are usually
making the film interesting rather than the process. They prefer to construct reality or
how reality is constructed such a past, present, and future.
Lastly, Observational
This kind of documentaries usually films in “real time” such as reality shows. They
would appear as though filmed in real time – the camera is filming and capturing the
events while those real time actors do not know they are being filmed and captured
unknowingly.

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In the case of Amy the Movie, it was filmed in various locations including in a taxi cab
with Amy’s family member, her friends, and her associates. Private films shots,
interviews by Journalists were collected and compiled by the filmmaker Asif Kapadia.
Much is said and described by critics from Variety, The Guardian, Telegraph as well as
the Biographies found inconsistencies of truth.
There were three questions raised in this critic on this film, Did the Director
compromised some truths for the sake of profit? Did her parents approve to the balance
of Amy private life for quick fame and profit? Did the record companies try to profit her
death?
The film which Asif Kapadia claims that all the interviews were conducted together with
researchers and cross references. He even extends to the public that he uses journalistic
methods to ensure that everything is back up with evidence. Where is the evidence? Who
is the evidence?
The film is made disturbingly with a mix methods of Observational and Reflective. But it
is poorly film and created because it only focuses on her music and her entertainment
rather more than her interview of her story.
Unlike with Michael Jackson’s documentary which is simple, detailed and straight
forward and clear, Amy’s film is found confusingly understood. Parts of the film I could
hardly understand how she write her songs for example. When did she write? And how
she wrote it.
There was no example given on how the songs mean a lot to her and her associates as
well.
Only two types of realism were found in the film where there is the part where Amy
describes her first concert which is also known as surface realism which is all about the
details have to be really right and right in the right place and time which is the case of
Amy, and secondly Emotional Realism plays a part in the documentary when Amy’s
death was announced many of the interviews were done with associates and family
members who have very close ties

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There is not enough truths but merely emotional; this is how many critics determined.
The Filmmaker had undermined who the real Amy was as an Artist and also there was
not much investigation, unlike the other Authors who explain the real issue that Amy
Winehouse is trying to resolve at home and her emotions with her music.
The Guardian, Entitled Why the Amy Winehouse film is little better than paps who
hounded her. (Ruby lott-Lavigna, 22nd July 2015) describe the filmmaker as The
documentary lacks a voice, supplementing this void with a tabloid-rescue scrapbook
timeline transposed to the screen.
In Variety, Entitled Film Review: “Amy” by Guy Lodge, May 16, 2015 – Winehouse’s
lyrical craft is a consistent point of interest for Kapadia. Though the Film features no
editorial voice of its own, it collates the observations of various involved parties –
friends, lovers, bodyguards, records executives, producers Salaam Remi and Mark
Ronson – to create the impression of the woman.
Lastly, Telegraph – Amy Winehouse glorious rise and heartbreaking fall is movingly
documented by Director of Senna by Robbie Collin; 8th January 2016 has described as
“There are hole in the story, which is simply a drawback of the technique:
understandably, no one wants to implicate themselves in Winehouse’s original discovery
of heroin and crack cocaine….
So is there truth in the film or was it off balance for profit and shame? Is selling shame
the main motive? Is truth good business sense?
Towards the end making the documentary like Amy in comparison to books is far from
the truth behind Amy’s lives and may many soon in the coming generations will learn the
truth.

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References
1. Loving Amy: A Mother’s Story by Janis Winehouse, ISBN 978-1250078490
2. Amy, My Daughter by Mitch Winehouse, ISBN 978-0062191472
3. Amy Winehouse: A Losing Game by Mick O'Shea, ISBN 978-0859654821
4. Saving Amy by Daphne Barak, ISBN 978-1847736703
5. Amy Winehouse – The Biography 1983 to 2011 by Chas Newkey-Burden,
ISBN 978-1843588146
6. Why the Amy Winehouse film is little better than the paps who
hounded her. By Ruby Lott-Lavigna
http://www.theguardian.com/film/2015/may/16/amy-review-asif-kapadias-
amy-winehouse-film-is-a-tragic-masterpiece
7. Film Review: Amy by Guy Lodge
http://variety.com/2015/film/festivals/amy-review-cannes-amy-winehouse-
documentary-1201493207/
8. Amy Winehouse’s glorious rise and heartbreaking fall are movingly
documented by Director of Senna by Robbie Collin, 8th January 2016.
http://www.telegraph.co.uk/film/amy/review/

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