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COM 321, Documentary Form in Film & Television Techniques--Part 2

2. Shot Types

ECU - Jacquot de Nantes (1991) Also reenactment, archival footage (D: Agnes Varda)

Canted angle - The Fog of War (2003) (D: Errol Morris)

Aerial shot -Koyaanisqatsi (2 clips) (1982) Also music for emotional tone (D: Godfrey Reggio)

Handheld camera - Dont Look Back (1967) Also black & white footage, long (D: D. A. Pennebaker) take, discovery shot (tracking)

- This is Spinal Tap (1984) (D: Rob Reiner)

3. Shooting Techniques

Tracking shot - Night and Fog (1955) (D. Alain Resnais) Also discovery shot (tilt)

Black & white/Color footage - Night and Fog (same clip as last)

Lighting—Classical - The King of Kong: A Fistful of Quarters Also MS, subject eyeline at (2007) (D: Seth Gordon) interviewer

Lighting—Naturally-occurring, Directional - Monterrey Pop (1968) (D: D. A. Pennebaker)

Lighting—High contrast - Mr. Death (1999) (D: Errol Morris) Also slo-mo, music for emotional tone, cutaway

4. Cutaways/B-roll

Static film footage - Mr. Death (1999) (D: Errol Morris) Also canted angle, music for emotional tone, sound effects 2

- I Survived (2010) (D: various) Also use of titles to supplement interviewee/voiceover

Stock footage - Tales of the Rat Fink (2006) Also animation, VO 1st person, (D: Ron Mann) sound effects

Archival/historical footage - The Fog of War (2003) (D: Errol Morris)

- The Atomic Café (1982) (D: Jayne Loader, Kevin Rafferty, Pierce Rafferty)

Acquired footage - Fahrenheit 9/11 (G. Bush segment) Also stock footage (2004) (D: Michael Moore)

- Fahrenheit 9/11 (WTC segment) Also film montage, slo-mo, (2004) (D: Michael Moore) music for emotional tone, acquired sound

Various types of cutaway footage - Mr. Death (1999) (D: Errol Morris) Also slo-mo, ECU, black & white/ color footage contrast, music for emotional tone, subject eyeline at camera (interrotron), “business” by Leuchter (not really reenact.)

5. Editing & Effects

Long take - Baraka (1992) (D: Ron Fricke) Also discovery shot (tilt down)

Quick cutting - The Man with the Movie Camera (1929) (D: Dziga Vertov)

Film montage - Woodstock (1970) (D: Michael Wadleigh) Montage is thematic or historical

Photo Animation The Ken Burns Effect - The Civil War (1990) (D: Ken Burns)

- The Times of Harvey Milk (1984) 3

(D: Robert Epstein)

“Photo album” effect - Fahrenheit 9/11 (2004) (D: Michael Moore)

Cartoon-type manipulation - Tales of the Rat Fink (2006) (D: Ron Mann)

- The Beaches of Agnes (2008) (D: Agnes Varda)

Animation - Bowling for Columbine (2002) (D: Michael Moore)

Split Screen - Woodstock (1970) (D: Michael Wadleigh)

Time Manipulation - Koyaanisqatsi (2 clips; time lapse, slo-mo mixed) (1982) (Godfrey Reggio)

Stop-motion animation - The Man with the Movie Camera Also multiple exposure, (1929) (D: Dziga Vertov) eyeline match

6. Music

For emotional tone, non-diegetic - The Times of Harvey Milk Also acquired footage, archival (1984) (D: Robert Epstein) footage

Purely diegetic - Gimme Shelter (1970) Also handheld camera (D: Albert Maysles, David Maysles, Charlotte Zwerin)

For commentary, non-diegetic - Bowling for Columbine (2002) Also archival footage (D: Michael Moore)

Sound effects - Tales of the Rat Fink (2006) (D: Ron Mann)

7. Reenactments/Recreations/Reconstructions/Dramatizations

Examples: 4

Murder - The Thin Blue Line (1989) (D: Errol Morris)

Ordinary Life - American Splendor (2003) (D: Shari Springer Berman, Robert Pulcini)

Phone Call - This Film Is Not Yet Rated (2006) (D: Kirby Dick)