grand Rapadia, 2015)
->
Documentary on Singer Amy Winehouse
↳ 1 Ismark question, need 2 key scenes
↳) other doc
need to know about film theorists.
Amy'saddiction to crack
cocaine, savel:* quieta mbient
sound of home movie footage ->
insightinto their private life.
I * Blake's remorseful voice over narration -- intimate infor itwas his fault
mise-en-scene: * contrasted by loud screaming fans in audience -> public life. * Amy on the phone + Blake's
*
c luttered table -> messy + sense of being overwhelmed quiet 'Gop talk in the kitchen's controlling?
+ Unable to cope. drug
I paraphenalia makeup and
-
hair accessories scattered over table--> Amy is in pieces. inematography: * extremely shakey handheld camera movements with Blake's movie camera-
* Wake up alone performance-orange tank + denim shorts -
suggestion instability, drugs
of + the relationship. I camera tracks Amy as she moves disorientating
-
differentf rom patterned pin up dresses-changed Amy. +
mimics how she's followed by the public eye? * zoom in to her acting erratically focus on eyes-drugs
* darkness, low lightin flat -
foreboding tone.
editing: a disjointed jump cuts between differentclips, eal Amy on phone, Amy in frontofT
RESPONSE:x peculiar + foreboding tone TV, still images -> surreal feels
wrong and strange -
foreboding tone.
-> her downfall begins -
nearyness of "Amy
Blake's started
using crack cocaine" . * disjointed editing -
Amy losing control LINK: x observational home movie footage Amy similiar
of to him longinottoobserving a struggling female.
Amy's death/end
/ savel:* suliette's voice in the foreground-she sounds on the verge of tears.
I * loud camera shutter clicks, even her death is invaded and exploited. I simplistic piano
mise-en-scene: score mournful and somber + hot like Amy's Jazz sound.
upbeat
* funeral, guy wearing kippa hat-reminds us of her * credits to Valerie's recognisable -
her voice - only thing we have leftis her music and sonas.
Jewish faith (no tats, drink or drugs) - now far she came
from that. * lonesome microphone next
t o Tony Bennett,
inematography: ariel location view shot-offers verisicimitude -a a set
real place, not
really emotive, where Amy once was now she's gone. * exploitative and intrusive nature of
the stock footage in relation to her death-her body leaving the
* dark grey depressive mood atmosphere.
weather: +
house + the funeral. spy shots of Amy is not looking atcamera-relationship broken.
editing: a dissolves between stills Amy,
of Juliette and Lauren as children, ghostly + cuclical
RESPONSE: sadness and grief looks back emotional freeze frames
nature: - slow motion pulls focus and lengthens spectator response.
to childhood +VO of Juliette and her bodyguard.
->
strong sense of tragedy
-
focus on her voice. INK: VO for
↑ narrative, similiar to the style ofMichael Moore -n Amy gets her voice back w/ valerie in the credits.
Amy takes over the storytelling with her music line moore does wl his persona
REY IDEAS: -to include in essays ~ . . .
Amy's relationship w/camera, starts as a friend-enemy
I
*
* the spectatoralready knows how the story ends, emotive Bill Nichols: intro to documentary's modes of
documentary.) Poetic z) observational 3) expository
archive
* use of footage, home moviet
s till images. 4) reflexive 3) participatory of performative. Amy is: Observational
as storytelling-lurics on screen-cursive.
-
↑o fahrenheit1719 -p media footage
Michael Moore x comedy and dark sative a his persona is key participatory atopics attack institutions. A voice
on issues the tells the story eal gun control
Rim LOnGiNOHO A observational women fighting for change or justice. A long takes uniquely personal a shoti n a calm unobtrusive stalled
Salma, female protagonist
Nick Broomfield. A reflexive -
disorganised and haphazard style- relativity personal feeling a spontaneous long unscripted takes a still images, Biggie Tupac
Peter Watkins: a docudrama stale a visual collage ofmedia a casts a critical que on political issues emotionally draining topics cal and i want
police brutality
->
Documentary on Singer Amy Winehouse
↳ 1 Ismark question, need 2 key scenes
↳) other doc
need to know about film theorists.
Amy'saddiction to crack
cocaine, savel:* quieta mbient
sound of home movie footage ->
insightinto their private life.
I * Blake's remorseful voice over narration -- intimate infor itwas his fault
mise-en-scene: * contrasted by loud screaming fans in audience -> public life. * Amy on the phone + Blake's
*
c luttered table -> messy + sense of being overwhelmed quiet 'Gop talk in the kitchen's controlling?
+ Unable to cope. drug
I paraphenalia makeup and
-
hair accessories scattered over table--> Amy is in pieces. inematography: * extremely shakey handheld camera movements with Blake's movie camera-
* Wake up alone performance-orange tank + denim shorts -
suggestion instability, drugs
of + the relationship. I camera tracks Amy as she moves disorientating
-
differentf rom patterned pin up dresses-changed Amy. +
mimics how she's followed by the public eye? * zoom in to her acting erratically focus on eyes-drugs
* darkness, low lightin flat -
foreboding tone.
editing: a disjointed jump cuts between differentclips, eal Amy on phone, Amy in frontofT
RESPONSE:x peculiar + foreboding tone TV, still images -> surreal feels
wrong and strange -
foreboding tone.
-> her downfall begins -
nearyness of "Amy
Blake's started
using crack cocaine" . * disjointed editing -
Amy losing control LINK: x observational home movie footage Amy similiar
of to him longinottoobserving a struggling female.
Amy's death/end
/ savel:* suliette's voice in the foreground-she sounds on the verge of tears.
I * loud camera shutter clicks, even her death is invaded and exploited. I simplistic piano
mise-en-scene: score mournful and somber + hot like Amy's Jazz sound.
upbeat
* funeral, guy wearing kippa hat-reminds us of her * credits to Valerie's recognisable -
her voice - only thing we have leftis her music and sonas.
Jewish faith (no tats, drink or drugs) - now far she came
from that. * lonesome microphone next
t o Tony Bennett,
inematography: ariel location view shot-offers verisicimitude -a a set
real place, not
really emotive, where Amy once was now she's gone. * exploitative and intrusive nature of
the stock footage in relation to her death-her body leaving the
* dark grey depressive mood atmosphere.
weather: +
house + the funeral. spy shots of Amy is not looking atcamera-relationship broken.
editing: a dissolves between stills Amy,
of Juliette and Lauren as children, ghostly + cuclical
RESPONSE: sadness and grief looks back emotional freeze frames
nature: - slow motion pulls focus and lengthens spectator response.
to childhood +VO of Juliette and her bodyguard.
->
strong sense of tragedy
-
focus on her voice. INK: VO for
↑ narrative, similiar to the style ofMichael Moore -n Amy gets her voice back w/ valerie in the credits.
Amy takes over the storytelling with her music line moore does wl his persona
REY IDEAS: -to include in essays ~ . . .
Amy's relationship w/camera, starts as a friend-enemy
I
*
* the spectatoralready knows how the story ends, emotive Bill Nichols: intro to documentary's modes of
documentary.) Poetic z) observational 3) expository
archive
* use of footage, home moviet
s till images. 4) reflexive 3) participatory of performative. Amy is: Observational
as storytelling-lurics on screen-cursive.
-
↑o fahrenheit1719 -p media footage
Michael Moore x comedy and dark sative a his persona is key participatory atopics attack institutions. A voice
on issues the tells the story eal gun control
Rim LOnGiNOHO A observational women fighting for change or justice. A long takes uniquely personal a shoti n a calm unobtrusive stalled
Salma, female protagonist
Nick Broomfield. A reflexive -
disorganised and haphazard style- relativity personal feeling a spontaneous long unscripted takes a still images, Biggie Tupac
Peter Watkins: a docudrama stale a visual collage ofmedia a casts a critical que on political issues emotionally draining topics cal and i want
police brutality
