This document discusses different camera styles used in documentary filmmaking and their implications. It begins by describing how filmmakers often discover important insights too late, after filming is complete. It then discusses the filmmaker's discovery that intercutting shots from multiple camera positions undermined the sense of immediacy they aimed to convey by acknowledging the filmmaking process. This led them to realize fictional film conventions are incompatible with documenting real people and events. The document argues that most shots in fiction films assume an invisible observer and are "privileged" in a way that real life is not.
City of God A-Level Film Studies student booklet e-book workbook study guide Ian Moreno-Melgar
A detailed guide and workbook for City of God as part of the A-Level Film Studies Specification covering context, a detailed analysis of the film, examinations of Third Cinema and Cinema Novo as well as work on representation and aesthetics.
City of God A-Level Film Studies student booklet e-book workbook study guide Ian Moreno-Melgar
A detailed guide and workbook for City of God as part of the A-Level Film Studies Specification covering context, a detailed analysis of the film, examinations of Third Cinema and Cinema Novo as well as work on representation and aesthetics.
Part 3 of 4
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 introduction of sound through the end of the studio system with an aside about the McCarthy hearings of the 1950's.
In 2020 as a result of the Coronavirus Pandemic, I recorded a video of this presentation. Here is the link: https://youtu.be/S_KiKhAS9pA Please feel free to use it in your classrooms.
Part 3 of 4
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 introduction of sound through the end of the studio system with an aside about the McCarthy hearings of the 1950's.
In 2020 as a result of the Coronavirus Pandemic, I recorded a video of this presentation. Here is the link: https://youtu.be/S_KiKhAS9pA Please feel free to use it in your classrooms.
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 Job of a Film Director Essay
Essay on Film Genre
Essay on Film Realism
Film and video production Essay
The History of Film Essay
Essay on Film Making
Essay on Film Trailer Portfolio
Essay on Film
Chorographies of Memory: Everyday Sites and Practices of Remembrance Work in ...Antropologiavisualuff
This thesis explores processes of remembrance work in contemporary Bucharest, while considering memory’s relationships to cognitive, discursive, sensory, material, and visual realms. Through writing and film, it draws attention to memory’s social, political, corporeal, and immaterial trajectories. This thesis posits memory as both entity and activity, continually constituted through physical and mental processes, in material objects and spaces of the imagination.
Focusing on the current EU accession-era context, I address how changes in Romania’s global framework intersect with remembrance practices at local, individual levels. By analysing Bucharest residents’ lived experiences, recollections of the past, and anticipations of the future, I seek to unravel complex dynamics of contemporary post-socialist “transition.”
I explore the active, contingent ways that personal memories weave in and out of social and ideological rhetoric, often taking on unexpected, idiosyncratic forms. Rather than viewing the boundaries between individual and collective memory and between official and unofficial commemoration as exclusive barriers, I interpret them as sites for engagement and interaction. I follow memory’s presence through objects, discourses, and spaces, and trace its movements between overtly commemorative and inadvertently memorial realms. My attention to arenas where memory is less obvious or visible— ordinary city landscapes, disregarded personal storage spaces, and commonplace interactions around money and food—sets my thesis apart from literature that disregards remembrance work outside explicitly commemorative contexts.
My film Lumina amintirii (In the Light of Memory) problematises notions that memory is a straightforwardly visual phenomenon, and that it may be represented literally through visual means. The film incorporates creative shooting and editing techniques to reflect fragmentary, haptic, multi-layered experiences of recollection. Transcending film’s representational capacities, I mobilise its affective, evocative modes of operation, to draw viewers into more emotionally intimate and analytically complex understandings of memory.
Central to my work are imaginative experiments I devised to provoke “felt” memories in my collaborators and to enable me to grasp their sensory and corporeal implications. These methodological innovations define my fieldwork, my film-work, and my writing as dynamic, relational processes shaping—rather than merely reflecting—my research.
A tradição da antropologia visual em Manchester: notas para um exercício comp...Antropologiavisualuff
O objetivo desse trabalho é o de apresentar um exemplo de prática de ensino da antropologia visual que possa servir como contraponto para as discussões sobre a crescente institucionalização da disciplina nas universidades brasileiras. O Mestrado em Antropologia Visual do Centro Granada de Antropologia Visual (MAVA) da Universidade de Manchester foi criado há mais de 20 anos e ao longo dessas décadas, seus integrantes renovaram suas metodologias de ensino baseados na experiência prática e no convívio diário com as demandas de seus alunos, no mercado de trabalho, e nas progressivas transformações tecnológicas. Apesar de diferenças fundamentais entre as duas situações, o uso de mídias audiovisuais na pesquisa levanta questões sobre ética e representação do conhecimento antropológico que transcendem fronteiras nacionais. A apresentação da história da epistemologia do MAVA nesse trabalho se propõe a provocar um debate que percorre vias múltiplas: o que o crescente interesse e as novas práticas na área da antropologia visual no Brasil podem oferecer ao debate já consolidado na academia britânica? Por outro lado, como esse novo interesse pode utilizar as críticas e epistemologias já testadas no decorrer dos anos de prática dentro da Universidade de Manchester? Que troca de conhecimento sobre as diferentes metodologias de pesquisa com a imagem poderia ser feita num fórum comparativo desse gênero?
No decorrer da luta você vai se descobrindo:
Experiências com o vídeo etnográfico na representação de processos sociais, por Ana Lúcia Marques Camargo Ferraz
240529_Teleprotection Global Market Report 2024.pdfMadhura TBRC
The teleprotection market size has grown
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compound annual growth rate (CAGR) of 28.2%. The
teleprotection market size is expected to see
exponential growth in the next few years. It will grow
to $70.77 billion in 2028 at a compound annual
growth rate (CAGR) of 26.0%.
In the vast landscape of cinema, stories have been told, retold, and reimagined in countless ways. At the heart of this narrative evolution lies the concept of a "remake". A successful remake allows us to revisit cherished tales through a fresh lens, often reflecting a different era's perspective or harnessing the power of advanced technology. Yet, the question remains, what makes a remake successful? Today, we will delve deeper into this subject, identifying the key ingredients that contribute to the success of a remake.
From Slave to Scourge: The Existential Choice of Django Unchained. The Philos...Rodney Thomas Jr
#SSAPhilosophy #DjangoUnchained #DjangoFreeman #ExistentialPhilosophy #Freedom #Identity #Justice #Courage #Rebellion #Transformation
Welcome to SSA Philosophy, your ultimate destination for diving deep into the profound philosophies of iconic characters from video games, movies, and TV shows. In this episode, we explore the powerful journey and existential philosophy of Django Freeman from Quentin Tarantino’s masterful film, "Django Unchained," in our video titled, "From Slave to Scourge: The Existential Choice of Django Unchained. The Philosophy of Django Freeman!"
From Slave to Scourge: The Existential Choice of Django Unchained – The Philosophy of Django Freeman!
Join me as we delve into the existential philosophy of Django Freeman, uncovering the profound lessons and timeless wisdom his character offers. Through his story, we find inspiration in the power of choice, the quest for justice, and the courage to defy oppression. Django Freeman’s philosophy is a testament to the human spirit’s unyielding drive for freedom and justice.
Don’t forget to like, comment, and subscribe to SSA Philosophy for more in-depth explorations of the philosophies behind your favorite characters. Hit the notification bell to stay updated on our latest videos. Let’s discover the principles that shape these icons and the profound lessons they offer.
Django Freeman’s story is one of the most compelling narratives of transformation and empowerment in cinema. A former slave turned relentless bounty hunter, Django’s journey is not just a physical liberation but an existential quest for identity, justice, and retribution. This video delves into the core philosophical elements that define Django’s character and the profound choices he makes throughout his journey.
Link to video: https://youtu.be/GszqrXk38qk
Young Tom Selleck: A Journey Through His Early Years and Rise to Stardomgreendigital
Introduction
When one thinks of Hollywood legends, Tom Selleck is a name that comes to mind. Known for his charming smile, rugged good looks. and the iconic mustache that has become synonymous with his persona. Tom Selleck has had a prolific career spanning decades. But, the journey of young Tom Selleck, from his early years to becoming a household name. is a story filled with determination, talent, and a touch of luck. This article delves into young Tom Selleck's life, background, early struggles. and pivotal moments that led to his rise in Hollywood.
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Early Life and Background
Family Roots and Childhood
Thomas William Selleck was born in Detroit, Michigan, on January 29, 1945. He was the second of four children in a close-knit family. His father, Robert Dean Selleck, was a real estate investor and executive. while his mother, Martha Selleck, was a homemaker. The Selleck family relocated to Sherman Oaks, California. when Tom was a child, setting the stage for his future in the entertainment industry.
Education and Early Interests
Growing up, young Tom Selleck was an active and athletic child. He attended Grant High School in Van Nuys, California. where he excelled in sports, particularly basketball. His tall and athletic build made him a standout player, and he earned a basketball scholarship to the University of Southern California (U.S.C.). While at U.S.C., Selleck studied business administration. but his interests shifted toward acting.
Discovery of Acting Passion
Tom Selleck's journey into acting was serendipitous. During his time at U.S.C., a drama coach encouraged him to try acting. This nudge led him to join the Hills Playhouse, where he began honing his craft. Transitioning from an aspiring athlete to an actor took time. but young Tom Selleck became drawn to the performance world.
Early Career Struggles
Breaking Into the Industry
The path to stardom was a challenging one for young Tom Selleck. Like many aspiring actors, he faced many rejections and struggled to find steady work. A series of minor roles and guest appearances on television shows marked his early career. In 1965, he debuted on the syndicated show "The Dating Game." which gave him some exposure but did not lead to immediate success.
The Commercial Breakthrough
During the late 1960s and early 1970s, Selleck began appearing in television commercials. His rugged good looks and charismatic presence made him a popular brand choice. He starred in advertisements for Pepsi-Cola, Revlon, and Close-Up toothpaste. These commercials provided financial stability and helped him gain visibility in the industry.
Struggling Actor in Hollywood
Despite his success in commercials. breaking into large acting roles remained a challenge for young Tom Selleck. He auditioned and took on small parts in T.V. shows and movies. Some of his early television appearances included roles in popular series like Lancer, The F.B.I., and Bracken's World. But, it would take a
As a film director, I have always been awestruck by the magic of animation. Animation, a medium once considered solely for the amusement of children, has undergone a significant transformation over the years. Its evolution from a rudimentary form of entertainment to a sophisticated form of storytelling has stirred my creativity and expanded my vision, offering limitless possibilities in the realm of cinematic storytelling.
Skeem Saam in June 2024 available on ForumIsaac More
Monday, June 3, 2024 - Episode 241: Sergeant Rathebe nabs a top scammer in Turfloop. Meikie is furious at her uncle's reaction to the truth about Ntswaki.
Tuesday, June 4, 2024 - Episode 242: Babeile uncovers the truth behind Rathebe’s latest actions. Leeto's announcement shocks his employees, and Ntswaki’s ordeal haunts her family.
Wednesday, June 5, 2024 - Episode 243: Rathebe blocks Babeile from investigating further. Melita warns Eunice to stay clear of Mr. Kgomo.
Thursday, June 6, 2024 - Episode 244: Tbose surrenders to the police while an intruder meddles in his affairs. Rathebe's secret mission faces a setback.
Friday, June 7, 2024 - Episode 245: Rathebe’s antics reach Kganyago. Tbose dodges a bullet, but a nightmare looms. Mr. Kgomo accuses Melita of witchcraft.
Monday, June 10, 2024 - Episode 246: Ntswaki struggles on her first day back at school. Babeile is stunned by Rathebe’s romance with Bullet Mabuza.
Tuesday, June 11, 2024 - Episode 247: An unexpected turn halts Rathebe’s investigation. The press discovers Mr. Kgomo’s affair with a young employee.
Wednesday, June 12, 2024 - Episode 248: Rathebe chases a criminal, resorting to gunfire. Turf High is rife with tension and transfer threats.
Thursday, June 13, 2024 - Episode 249: Rathebe traps Kganyago. John warns Toby to stop harassing Ntswaki.
Friday, June 14, 2024 - Episode 250: Babeile is cleared to investigate Rathebe. Melita gains Mr. Kgomo’s trust, and Jacobeth devises a financial solution.
Monday, June 17, 2024 - Episode 251: Rathebe feels the pressure as Babeile closes in. Mr. Kgomo and Eunice clash. Jacobeth risks her safety in pursuit of Kganyago.
Tuesday, June 18, 2024 - Episode 252: Bullet Mabuza retaliates against Jacobeth. Pitsi inadvertently reveals his parents’ plans. Nkosi is shocked by Khwezi’s decision on LJ’s future.
Wednesday, June 19, 2024 - Episode 253: Jacobeth is ensnared in deceit. Evelyn is stressed over Toby’s case, and Letetswe reveals shocking academic results.
Thursday, June 20, 2024 - Episode 254: Elizabeth learns Jacobeth is in Mpumalanga. Kganyago's past is exposed, and Lehasa discovers his son is in KZN.
Friday, June 21, 2024 - Episode 255: Elizabeth confirms Jacobeth’s dubious activities in Mpumalanga. Rathebe lies about her relationship with Bullet, and Jacobeth faces theft accusations.
Monday, June 24, 2024 - Episode 256: Rathebe spies on Kganyago. Lehasa plans to retrieve his son from KZN, fearing what awaits.
Tuesday, June 25, 2024 - Episode 257: MaNtuli fears for Kwaito’s safety in Mpumalanga. Mr. Kgomo and Melita reconcile.
Wednesday, June 26, 2024 - Episode 258: Kganyago makes a bold escape. Elizabeth receives a shocking message from Kwaito. Mrs. Khoza defends her husband against scam accusations.
Thursday, June 27, 2024 - Episode 259: Babeile's skillful arrest changes the game. Tbose and Kwaito face a hostage crisis.
Friday, June 28, 2024 - Episode 260: Two women face the reality of being scammed. Turf is rocked by breaking
Meet Crazyjamjam - A TikTok Sensation | Blog EternalBlog Eternal
Crazyjamjam, the TikTok star everyone's talking about! Uncover her secrets to success, viral trends, and more in this exclusive feature on Blog Eternal.
Source: https://blogeternal.com/celebrity/crazyjamjam-leaks/
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Maximizing Your Streaming Experience with XCIPTV- Tips for 2024.pdfXtreame HDTV
In today’s digital age, streaming services have become an integral part of our entertainment lives. Among the myriad of options available, XCIPTV stands out as a premier choice for those seeking seamless, high-quality streaming. This comprehensive guide will delve into the features, benefits, and user experience of XCIPTV, illustrating why it is a top contender in the IPTV industry.
Tom Selleck Net Worth: A Comprehensive Analysisgreendigital
Over several decades, Tom Selleck, a name synonymous with charisma. From his iconic role as Thomas Magnum in the television series "Magnum, P.I." to his enduring presence in "Blue Bloods," Selleck has captivated audiences with his versatility and charm. As a result, "Tom Selleck net worth" has become a topic of great interest among fans. and financial enthusiasts alike. This article delves deep into Tom Selleck's wealth, exploring his career, assets, endorsements. and business ventures that contribute to his impressive economic standing.
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Early Life and Career Beginnings
The Foundation of Tom Selleck's Wealth
Born on January 29, 1945, in Detroit, Michigan, Tom Selleck grew up in Sherman Oaks, California. His journey towards building a large net worth began with humble origins. , Selleck pursued a business administration degree at the University of Southern California (USC) on a basketball scholarship. But, his interest shifted towards acting. leading him to study at the Hills Playhouse under Milton Katselas.
Minor roles in television and films marked Selleck's early career. He appeared in commercials and took on small parts in T.V. series such as "The Dating Game" and "Lancer." These initial steps, although modest. laid the groundwork for his future success and the growth of Tom Selleck net worth. Breakthrough with "Magnum, P.I."
The Role that Defined Tom Selleck's Career
Tom Selleck's breakthrough came with the role of Thomas Magnum in the CBS television series "Magnum, P.I." (1980-1988). This role made him a household name and boosted his net worth. The series' popularity resulted in Selleck earning large salaries. leading to financial stability and increased recognition in Hollywood.
"Magnum P.I." garnered high ratings and critical acclaim during its run. Selleck's portrayal of the charming and resourceful private investigator resonated with audiences. making him one of the most beloved television actors of the 1980s. The success of "Magnum P.I." played a pivotal role in shaping Tom Selleck net worth, establishing him as a major star.
Film Career and Diversification
Expanding Tom Selleck's Financial Portfolio
While "Magnum, P.I." was a cornerstone of Selleck's career, he did not limit himself to television. He ventured into films, further enhancing Tom Selleck net worth. His filmography includes notable movies such as "Three Men and a Baby" (1987). which became the highest-grossing film of the year, and its sequel, "Three Men and a Little Lady" (1990). These box office successes contributed to his wealth.
Selleck's versatility allowed him to transition between genres. from comedies like "Mr. Baseball" (1992) to westerns such as "Quigley Down Under" (1990). This diversification showcased his acting range. and provided many income streams, reinforcing Tom Selleck net worth.
Television Resurgence with "Blue Bloods"
Sustaining Wealth through Consistent Success
In 2010, Tom Selleck began starring as Frank Reagan i
Scandal! Teasers June 2024 on etv Forum.co.zaIsaac More
Monday, 3 June 2024
Episode 47
A friend is compelled to expose a manipulative scheme to prevent another from making a grave mistake. In a frantic bid to save Jojo, Phakamile agrees to a meeting that unbeknownst to her, will seal her fate.
Tuesday, 4 June 2024
Episode 48
A mother, with her son's best interests at heart, finds him unready to heed her advice. Motshabi finds herself in an unmanageable situation, sinking fast like in quicksand.
Wednesday, 5 June 2024
Episode 49
A woman fabricates a diabolical lie to cover up an indiscretion. Overwhelmed by guilt, she makes a spontaneous confession that could be devastating to another heart.
Thursday, 6 June 2024
Episode 50
Linda unwittingly discloses damning information. Nhlamulo and Vuvu try to guide their friend towards the right decision.
Friday, 7 June 2024
Episode 51
Jojo's life continues to spiral out of control. Dintle weaves a web of lies to conceal that she is not as successful as everyone believes.
Monday, 10 June 2024
Episode 52
A heated confrontation between lovers leads to a devastating admission of guilt. Dintle's desperation takes a new turn, leaving her with dwindling options.
Tuesday, 11 June 2024
Episode 53
Unable to resort to violence, Taps issues a verbal threat, leaving Mdala unsettled. A sister must explain her life choices to regain her brother's trust.
Wednesday, 12 June 2024
Episode 54
Winnie makes a very troubling discovery. Taps follows through on his threat, leaving a woman reeling. Layla, oblivious to the truth, offers an incentive.
Thursday, 13 June 2024
Episode 55
A nosy relative arrives just in time to thwart a man's fatal decision. Dintle manipulates Khanyi to tug at Mo's heartstrings and get what she wants.
Friday, 14 June 2024
Episode 56
Tlhogi is shocked by Mdala's reaction following the revelation of their indiscretion. Jojo is in disbelief when the punishment for his crime is revealed.
Monday, 17 June 2024
Episode 57
A woman reprimands another to stay in her lane, leading to a damning revelation. A man decides to leave his broken life behind.
Tuesday, 18 June 2024
Episode 58
Nhlamulo learns that due to his actions, his worst fears have come true. Caiphus' extravagant promises to suppliers get him into trouble with Ndu.
Wednesday, 19 June 2024
Episode 59
A woman manages to kill two birds with one stone. Business doom looms over Chillax. A sobering incident makes a woman realize how far she's fallen.
Thursday, 20 June 2024
Episode 60
Taps' offer to help Nhlamulo comes with hidden motives. Caiphus' new ideas for Chillax have MaHilda excited. A blast from the past recognizes Dintle, not for her newfound fame.
Friday, 21 June 2024
Episode 61
Taps is hungry for revenge and finds a rope to hang Mdala with. Chillax's new job opportunity elicits mixed reactions from the public. Roommates' initial meeting starts off on the wrong foot.
Monday, 24 June 2024
Episode 62
Taps seizes new information and recruits someone on the inside. Mary's new job
Experience the thrill of Progressive Puzzle Adventures, like Scavenger Hunt Games and Escape Room Activities combined Solve Treasure Hunt Puzzles online.
Panchayat Season 3 - Official Trailer.pdfSuleman Rana
The dearest series "Panchayat" is set to make a victorious return with its third season, and the fervor is discernible. The authority trailer, delivered on May 28, guarantees one more enamoring venture through the country heartland of India.
Jitendra Kumar keeps on sparkling as Abhishek Tripathi, the city-reared engineer who ends up functioning as the secretary of the Panchayat office in the curious town of Phulera. His nuanced depiction of a young fellow exploring the difficulties of country life while endeavoring to adjust to his new environmental factors has earned far and wide recognition.
Neena Gupta and Raghubir Yadav return as Manju Devi and Brij Bhushan Dubey, separately. Their dynamic science and immaculate acting rejuvenate the hardships of town administration. Gupta's depiction of the town Pradhan with an ever-evolving outlook, matched with Yadav's carefully prepared exhibition, adds profundity and credibility to the story.
New Difficulties and Experiences
The trailer indicates new difficulties anticipating the characters, as Abhishek keeps on wrestling with his part in the town and his yearnings for a superior future. The series has reliably offset humor with social editorial, and Season 3 looks ready to dig much more profound into the intricacies of rustic organization and self-awareness.
Watchers can hope to see a greater amount of the enchanting and particular residents who have become fan top picks. Their connections and the one of a kind cut of-life situations give a reviving and interesting portrayal of provincial India, featuring the two its appeal and its difficulties.
A Mix of Humor and Heart
One of the signs of "Panchayat" is its capacity to mix humor with sincere narrating. The trailer features minutes that guarantee to convey giggles, as well as scenes that pull at the heartstrings. This equilibrium has been a critical calculate the show's prosperity, resounding with crowds across different socioeconomics.
Creation Greatness
The creation quality remaining parts first rate, with the beautiful setting of Phulera town filling in as a scenery that upgrades the narrating. The meticulousness in portraying provincial life, joined with sharp composition and solid exhibitions, guarantees that "Panchayat" keeps on hanging out in the packed web series scene.
Expectation and Delivery
As the delivery date draws near, expectation for "Panchayat" Season 3 is at a record-breaking high. The authority trailer has previously created critical buzz, with fans enthusiastically anticipating the continuation of Abhishek Tripathi's excursion and the new undertakings that lie ahead in Phulera.
All in all, the authority trailer for "Panchayat" Season 3 recommends that watchers are in for another drawing in and engaging ride. Yet again with its charming characters, convincing story, and ideal mix of humor and show, the new season is set to enamor crowds. Write in your schedules and prepare to get back to the endearing universe of "Panchayat."
Meet Dinah Mattingly – Larry Bird’s Partner in Life and Loveget joys
Get an intimate look at Dinah Mattingly’s life alongside NBA icon Larry Bird. From their humble beginnings to their life today, discover the love and partnership that have defined their relationship.
Create a Seamless Viewing Experience with Your Own Custom OTT Player.pdfGenny Knight
As the popularity of online streaming continues to rise, the significance of providing outstanding viewing experiences cannot be emphasized enough. Tailored OTT players present a robust solution for service providers aiming to enhance their offerings and engage audiences in a competitive market. Through embracing customization, companies can craft immersive, individualized experiences that effectively hold viewers' attention, entertain them, and encourage repeat usage.
From the Editor's Desk: 115th Father's day Celebration - When we see Father's day in Hindu context, Nanda Baba is the most vivid figure which comes to the mind. Nanda Baba who was the foster father of Lord Krishna is known to provide love, care and affection to Lord Krishna and Balarama along with his wife Yashoda; Letter’s to the Editor: Mother's Day - Mother is a precious life for their children. Mother is life breath for her children. Mother's lap is the world happiness whose debt can never be paid.
1. 257
Unprivileged Camera Style [1982]
In Transcultural Cinema. David MacDougall
Filmmaking can be a protracted process, with long delays between
shooting a film and editing it. Hence filmmakers are apt to make their discoveries at the
worst possible time: when the film isn't yet finished, but when it's too late to go back and
shoot it differently. Discoveries of this kind may explain why so many films seem like
uneasy compromises or reworkings of “found” material.
In 1968, after Judith MacDougall and I had finished shooting To Live
With Herds (1972) in Uganda, we made a discovery that was hardly novel but that
suggested some of the ideas I shall mention here. We had been filming in Jie
compounds, which were surrounded by heavy stockades of interwoven sticks. One
entered by crouching and passing through a low doorway. Inside, the area was like a
roofless room, with a clean-swept earthen floor. Having managed to enter with our
filming equipment we usually settled gratefully in one place. This we found also suited
our filming. It generally provided an adequate field of view and was acceptable to the
Jie, who also spent much of their time in fixed positions around their compounds.
[Figure 16.]
As we became more experienced, we began looking for the optimum
position in which to place ourselves. This was the point from which we would have an
unimpeded view of most social activities. We often remained there, but sometimes we
shifted to a second camera position, either because the center of social interaction had
shifted or for the quite different reason that we knew a second camera angle would be
useful when the time came to edit the film.
Often, for example, a conversation viewed from only one position was
unsatisfactory because certain persons were seen at the expense of others, whose backs
were to us. It was also difficult to record the steps of a process like millet beer-making
from one position, when each step seemed to require its own particular angle. Finally,
when little seemed to be happening and the camera ground on and on, we knew that later
2. 258
we would be able to cut to a shot from another angle without awkwardness or a sense of
disjunction. At least that was what we thought.
These notions persisted through the synchronizing and viewing of our
rushes. We were pleased with the material and were confident we could use the best of it
in a film. It was only when we started editing that we began to have doubts. These
would start when we had used a long take of a conversation, had cut to a shot from a
second camera position, and had then returned to the first angle again. For some reason it
wasn't working, despite the fact that this pattern of intercutting dialogue was the mainstay
of most of the films we had seen in our lives.
Reluctantly, we abandoned this approach. For many sequences we ended
up discarding all of the footage from either one position or the other, although both
contained valuable material.
At first, when we asked ourselves what had happened, we blamed the
framing of our shots. Later we began to see that this wasn't the real problem. The
problem lay in a contradiction in premises: denying to the audience on the one hand what
we had been offering it on the other.
What we were trying to give was a sense of being present in a Jie
compound, a situation in which few of our viewers would ever find themselves. There
were several reasons for this—to counteract prevalent representations of “exotic” people,
to express the realities of fieldwork, to record informal aspects of culture, to allow
individuals to emerge rather than types—and a number of things made it possible: our
subjects’ acknowledgement of our presence, our long and static camera takes, and the
very low energy-level of much that we filmed. We were not singling out dramatic
subjects for attention so much as opening the film up to a kind of anti-subject-matter:
apparently inconsequential events that were more like what one would witness in
ordinary experience than choose as film subjects.
By intercutting shots from two or more camera positions we found we
were taking away that immediacy by invoking a style of fictional filmmaking
incompatible with the idea of real people sitting in a compound filming other real people.
3. 259
We were aware that the conventions of fiction had considerably influenced documentary
films, but we had underestimated their significance and the extent to which we and other
film-makers had been taught to accept them as appropriate.
The term privileged camera angle was often used in discussions of
Hollywood films to describe a camera position that could not be occupied in everyday
life—a shot from a fireplace, looking through the flames, or a shot through a mirror or
wall, or perhaps a distorted or surrealistic effect, such as a shot from the lap of a fat man
looking up his nostrils. Such shots were common in thrillers and psychological dramas
of the l940s and reached back to German Expressionism. But privileged camera angles
are really the common coinage of fiction films and only become noticeable when they
strain the audience's credulity. Pressed a little further they become jokes, like the
opening of The Tin Drum (1979) in which we and little Oskar look down his mother's
birth canal toward a world he regards with horror.
Most shots in fiction films are privileged because there is no
acknowledged observer, and in any case one cannot imagine an unknown person being
given such access to other people's lives. These films posit an invisible observer with
special powers that merge the consciousness of the author and audience. The viewpoint
is rarely that of a character. Frame enlargements from fiction films make it evident that
most point-of-view shots are in fact only analogues of the viewpoint of a character. The
eyes of the actors rarely look directly into the camera as they would if it were substituted
for one of their interlocutors. Because of this, documentary films can adopt the shooting
style of fiction without the contradiction that the camera has actually “become” a
nonfictional person.
The editing of fiction films also takes liberties, but with time and space
rather than with conventions of privacy. It is understood that within dramatic sequences
no time need elapse at a cut, and this power is confirmed by the continuity of the
soundtrack. Thus the eye of the observer shifts instantaneously to new positions without
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the necessity of traveling between them. Television directors now switch from one
camera to another, but the effect of instantaneous switching is a conceptual, not a
technological creation. Although multiple cameras have been used since the early days
of the cinema, the effect is usually achieved by a series of separate camera set-ups. The
idea is older than films, which simply matched images to an invention of fiction.
Fiction films are experiences of magical observation, defying ordinary
physical limits and forms of accountability. If they have often been called dreamlike, it is
because they give us a sense of untrammelled will.
When people began taking snapshots just before the turn of the century
they would say, “Look at the camera.” Later, responding to a new impulse, they began to
say, “Don't look at the camera. Go on with what you were doing.” They wanted
photographs of life, but as though photography had not occurred. ln producing this effect
they were led irrevocably into fiction.
Something similar happened in film. The directness of many of the
“primitive” films made between 1895 and l920 resulted from an acknowledgement of the
act of filming. They were often about the specific historical moment when a
cinematographer came to town. Later such scenes disappeared from the cinema,
banished by a professionalism that viewed any internal evidence of filmmaking as an
aesthetic error. “As you know,” Basil Wright once said, “in the old documentary days, as
soon as someone looked at the camera, you threw that shot out because the illusion of
reality had been lost” (1971: 41). Documentary films were supposed to be distillations of
truth, transcending the human agencies that produced them. Making them was a matter
of high seriousness and careful composition. Except when events were even more
dramatic than filmmaking itself, as in theaters of war, life stopped when the cameras
appeared. It had to be started up artificially when the cameras rolled, and so another
component of fiction was added: people became actors impersonating themselves.
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Ved Mehta has described how television perpetuates a form of
fictionalized documentary—the intimate portrait—by relentlessly molding its subjects to
its needs. The film was Chachaji, My Poor Relation: A Memoir by Ved Mehta (1978)
about his second cousin Bahali Ram, a film for which Mehta was hired as the “writer.”
“Tell Daddy Chopra to push open the screen door and summon
Chacha and give him an errand,” Bill says. “Tell Chacha to keep on turning the
pages of the ledger until he's called.”
I tell Chopra and Chachaji what to do, and Bill shouts “Board!”
Chopra pushes open the screen door, as instructed, and calls out,
“Lalaji, come inside. Bring ledger.”
Before Chopra can finish his lines, Bill yells “Cut!” Chachaji
spoiled the shot by jumping up at the sound of Chopra opening the door, instead
of waiting for Chopra to call him.
And so the morning goes, until we think we finally have enough
good material to make a sequence of Chachaji being sent on an errand. (1980: 6364)
Implicit in a camera style is a theory of knowledge. British documentary
films of the l930s and 1940s were concerned with essences, and the camera was only one
of several tools for conveying what one already knew about life. Colin Young has
observed that there was an Art Director on Grierson's Drifters (1929); and in Night Mail
(1936) there was no contradiction seen in the use of studio techniques to get the shots of
letter-sorting en route to Edinburgh. A railway carriage was put up on blocks, lit, and
rocked rhythmically by stagehands.
One view is that the aims of documentary were ahead of its means, and it
wasn't prepared to wait. Synchronous sound recording outside the studio was an
adventure, attempted in only a few documentary films like Housing Problems (1935).
Documentaries had a hard time competing with direct experience or, more importantly
one suspects, with the concentrated energy of story films. Authenticity became a matter
of effect, as is made clear in The Technique of Film Editing, first published in 1953 and
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“written and compiled by Karel Reisz with the guidance of [a] Committee appointed by
the British Film Academy”:
[The] need to obtain apt, incisive “raw stuff” before editing begins is
demonstrated most forcefully in the production of the simplest form of
documentary—the reportage film. ... The facts alone are of interest and the
director's task is to present them as authentically as possible.
At first sight nothing would appear to be simpler than to present an
exciting event in an exciting way. Actually, as we shall see, to achieve a
convincing impression of an actually observed scene, a most elaborate editing
process may have to be brought into operation. (Reisz and Millar 1968: 125-26)
If one were to look for a turning point in the domination of documentary
films by fiction, one would have to find the point at which filmmakers ceased merely to
exploit the persuasive powers of film and began to examine their ideological
implications. Dziga Vertov was one of the first to do so, but one would have to wait until
almost the 1960s to find very many others. The revolution of the British “Free Cinema”
movement and of Direct Cinema and cinéma vérité were directed against two kinds of
privilege: the privilege inherent in an aesthetic that resulted in the living people of films
being subordinated to an anonymous creator, and the privilege of studios, television
companies, equipment manufacturers, and exhibitors to institutionalize the styles and
intellectual assumptions of filmmaking. The light-weight sound cameras of Ricky
Leacock, Michel Brault and Albert Maysles were the first that could be used as personal
instruments, after years in which sound was either added to images in the cutting room or
resulted from the use of huge cameras requiring teams of technicians. After the first
flights of fancy—that cameras which could go anywhere could also record everything—
filmmakers began facing the implications of film as a personal form of record-making. It
would reflect more directly the interests and circumstances of the observer, and it would
be unable to claim the definitive authority of films of the past. It would resituate the
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audience in relation to the subject, and this meant resituating the filmmaker in relation to
the audience.
The result was the notion of an unprivileged camera style: a style based
on the assumption that the appearance of a film should be an artifact of the social and
physical encounter between the filmmaker and the subject. To achieve this, some
filmmakers began to relinquish the formal privileges that sustained the Olympian
omniscience of story-tellers. Others saw it primarily as a matter of principle: that it was
unethical to present the lives of real people through the devices by which imaginary
characters were created. Living human beings were not merely the raw material for
stories or the illustration of concepts. They had their own existence in defiance of any
documentary film that might be made about them, and this demanded that they be treated
for what they were.
Of course, this fervor had its own ideological blindness. “Direct” cinema
shifted different powers into the hands of individual filmmakers, who could be equally
ruthless in other ways towards their subjects and audiences. There was also much room
for self-deception: for believing that the meaning of events was self-evident in images of
them, or that filming something made it interesting, or that people were no longer
influenced by being filmed, or that filmmaking was a mystical or philanthropic activity in
which creative ambition played no part.
Ethnographic film constituted a special case of documentary. Cinematic
conventions attracted particular attention both as an expression of culture (the
Worth-Adair Navajo experiments, for example i) and because of the debate over how film
could serve as evidence for anthropology, stimulated by Jean Rouch, Colin Young, Jay
Ruby, and others. The debate soon shifted to how film could become a medium of
anthopological inquiry. But awareness of the stylistic revolution occurring in
documentary film made its way only slowly into ethnographic films, even though two of
the leading innovators in documentary, Jean Rouch and John Marshall, were
ethnographers. Most films were cast in a lecture form that asserted the authority of the
commentator, not the footage. Others, ranging from “educational” films involving
8. 264
anthropologists to television travelogues, continued to direct their actors rather than
observe them and employed the shooting and editing techniques of fiction.
Two films about hunters are characteristic, made more than fifty years
after Flaherty’s famous walrus-hunting scene, which André Bazin celebrated as an
alternative to staging and montage. In Cree Hunters of Mistassini (1974) and Pygmies of
the Rainforest (1977) the hunters are seen in shots just before the kill with their weapons
aimed in the general direction of the camera. Thus either we must accept that the hunters
allowed the film crew to get between themselves and their prey or that these shots were
made at another time, probably after the hunt was over.
ln the l950s John Marshall, equipped at first with only a spring-wound
camera and non-synchronous recorder, began filming passages of personal interaction
among the Ju’/hoansi of the Kalahari. He filmed as though their voices would be heard
and his lengthy shots would be seen intact—a curious approach at a time when
documentary films were mosaics of shots. Most cinematographers knew that even if they
filmed continuous events their shots would be cut up and the fragments edited into a new
synthesis. The original temporal and spatial relationships would be lost. In these
circumstances, almost everyone shot to get the fragments, not the continuity. But
Marshall was young and had been sent out to do a job of ethnographic documentation,
not to make documentary films. As so often happens at the beginnings of things, he
thought he was doing something quite ordinary, although what he was attempting
foreshadowed the wave of the future. His sequence-shots, with the sound laboriously
“scissor-synced” to the picture, can now be seen as early examples of an effort to put the
viewer into a relationship with the subject more like the filmmaker's own.
Sequence-shots restore to the audience something of the continuity of
perception of an individual observer. They are also probably the key feature of a camera
style that seeks to sever itself from the imagery of fiction and tie itself to the specific
historical act of filming. Other aspects of this style can be called “unprivileged” only in
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contrast to styles that gain immunity by not subjecting themselves to the risks and
consequences of that act, for clearly anyone with a camera enjoys certain privileges as an
observer. Unprivileged camera style is a negative notion, a corrective. It is an assertion
of the obvious: that filmmakers are human, fallible, rooted in physical space and society,
governed by chance, limited in perception—and that films must be understood this way.
The renunciation of stylistic privilege is not a recipe for enlightenment but a point of
reference for communication. It attempts to narrow the distance between the person who
makes a film and the person who views it. There is no longer a compulsion to occupy an
advantageous camera position at any cost; a “bad” shot which nevertheless contains
useful information, and which would once have been removed as “unprofessional,” is
now preserved.
A film by Gary Kildea, Celso and Cora (1983), incorporates many of the
shifts I have been discussing. It concerns the lives of Cora and Celso, street-vendors in
Manila. Kildea began working entirely alone, a “one-man-band” of camera, microphone,
and tape recorder. He felt this approach was necessary to protect the obligations he had
assumed toward the family, but later he found it too difficult and completed the filming
with an assistant from the Philippines. He edited the film himself, and he refuses many
aspects of conventional film editing. The illusion of continuous time, except within
shots, is avoided—one might say, purposefully destroyed— by the interpolation of short
lengths of leader, like the blackouts or intertitles that once separated shots in silent films
and which reappeared (for reasons similar to Kildea’s) in a few ethnographic and
fictional films of the l960s and 1970s. ii This approach also frees Kildea from the
necessity of conventional editing transitions between shots. Thus Kildea draws our
attention to the fact that the film is composed of fragments taken out of the lives of his
subjects. One suspects such an approach would be anathema to most television
programmers.
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At one point Kildea shot footage from the driver's window of one of the
trains that regularly pushes through Kahilom, the quarter in which the family lived. In
the end he felt unable to use any of this material because it was too alien to their
experience, a view of their quarter that they would never see.
Kildea is clearly a privileged observer—a white, middle-class filmmaker
in one of the innumerable microcosms of the Third World—but his camera style reaches
out to the subjects and to us in the audience in an attempt to make our analysis of what he
is doing less problematical. The film is composed of long sequence-shots. In one shot
made early on in the filming, Celso and Cora are looking at new lodgings they hope to
occupy. After examining the room in some detail Celso asks when the filming is going to
start. Upon discovering that the camera has been running all the time, he returns to his
examination of the room apparently unconcerned. The shot provides a crosscheck on his
reactions, and although it is not a definitive one it helps to delineate the relationship
Kildea has established with his subjects. [Figure 17.]
Later in the film a shot occurs which tells us more about this relationship
and also about Kildea's attitude towards the audience. Cora and Celso have had an
argument and have separated. On top of this, Celso has been told he can no longer sell
cigarettes in front of the Tower Hotel, where he had been scraping enough money to get
by. He has been up all night with his small daughter, Maricel, at a new selling point
down the street. It is now dawn and he has come to the foreshore of Manila Bay with
Maricel to give her, as he puts it, “some sun and sea breeze.” He is preoccupied with his
problems but starts telling Kildea about the strangers nearby. One woman, he says,
looking past the camera, is probably trying to cure her baby's cough with the sea air. One
guesses that Kildea is intent at this moment on watching Celso, but the camera comes
slowly around and looks at what Celso has described before once again returning to him.
Considering the difficulties of the shot it is very skilful, but the woman is far away and
the view of her cursory. Many filmmakers would have stayed with Celso and got a shot
of the woman later to use as an insert. Kildea prefers to show us his problem: the image
of Celso lost, the demands of the moment observed.
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Not all the things we might wish to know about other people are
recognizable or even permissible subjects of inquiry to them. Often matters that touch
them the most deeply and that are most revealing of their concerns are the most closely
guarded. The mysteriousness of filmmaking once gave filmmakers special access to the
lives of their subjects, particularly in cultures where films were little understood. The
spread of communications is now putting an end to that privilege. People are becoming
increasingly aware of the risks and potential benefits of films about them, and filmmakers
must pay special attention to the hazards of exposing their subjects to official reprisals or
the ostracism of their neighbors.
This can force filmmakers in one of two directions: either to abandon
entire areas of human relations or develop new approaches with their subjects that allow
sensitive topics to be explored. For films to be properly interpreted, the nature of these
new “contracts” must be understood by the audience. Increasingly, filmmakers are
bringing their relationships with the subjects into the foreground of their films. These
encounters can develop into informal exchanges quite different from interviews. As the
filmmaker is drawn further into the subject area of the film, the audience is drawn into
the position the filmmaker originally occupied.
The process can be as much a feature of overall structure as of camera
style. Rouch’s and Morin's Chronique d'un été (1961) was posed explicitly as an
experiment in documentary filmmaking, with Rouch and Morin taking center stage.
Other films such as Chris Marker's “letters” to his audiences, Mike Rubbo's Waiting for
Fidel (1974), and James Blue's A Few Notes on Our Food Problem (1968) in their
various ways turn the filmmaker into an identifiable intermediary with the audience,
grappling with a subject. When we made To Live with Herds we were content to include
sequences in which our presence was occasionally acknowledged. By the time we made
The Wedding Camels (filmed 1973-74, released 1977), we were attempting quite
consciously to show through film what it is like to be an observer in the midst of a
12. 268
complex event, trying to make sense of it. The film takes its structure from the inquiry.
It is clear that we miss a good deal. Much of the rest is filtered through the testimony of
participants, whose own vested interests must be taken into account. Any knowledge of
the event is finally provisional, and in this sense the film is about what one can and
cannot know. [Figure 18.]
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Notes
This essay was first published in the Royal Anthropologial Institute newsletter R.A.I.N.
50: 8-10, June, 1982.
iFor
an account of this, see Sol Worth and John Adair’s Through Navajo Eyes.
ii
See, for example, Godard’s Vivre sa vie (1962), Timothy Asch’s The Ax Fight (1975),
and my film To Live with Herds (1972).