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DOCUMENTARY UNIT IS INTRO-1 Name: _________________________ Period: ____ Due: 2.27.17 Score: ____/20 IB Film Documentary: Independent FILM REVIEW DIRECTIONS: Examine the list below of potential DOCUMENTARIES you can view. ALL are available via Netflix or AMAZON or other on line sources. SELECT ONE and WRITE your FILM CRITIQUE as outlined below. DOC FILM OPTIONS “Shut Up and Play the Hits” 2012 “Bully” 2012 Directors: Will Lovelaces, Dylan Southern Director: Lee Hirsch WARNING: R Rating “An Inconvenient Truth” 2006 “Senna” 2010 Director: Davis Guggenheim Director: Asif Kapadia “Man on Wire” 2008 “Jiro Dreams of Sushi” 2012 Director: James Marsh Director: David Gelb “Hoop Dreams” 1994 “The National Parks: America’s Best Idea” Director: Steve James 2009 Director: Ken Burns “7 Up Series” 1964 “The Lottery” 2010 Director: Michael Apted Director: Madeleine Sackler DOCUMENTARY FILM CRITIQUE TEMPLATE: Your critique should be a THOUGHTFUL REVIEW of the film viewing and your impressions. See list of questions to respond to in your 2-3page written review. Opening/Intro: Details of the DOCUMENTARY [TITLE, INTENDED AUDIENCE, PURPOSE, and MAIN MESSAGE] Development of REVIEW: Summarize the documentary [1 paragraph, at most]. Explain the purpose of the subject matter of the documentary and what you had as prior knowledge and what you gained in knowledge from the documentary. Describe the sound effects, camera work, narration/interviews or any special effects, and/or audio used to convey message. Was/were any techniques effective, and describe how or why not. FINAL SUMMARY: Consider the overall impact of the film. Would you recommend this or not— explain why. Written Reflection: Follow directions. Typed. DS. MLA format. Submit via google docs or attach via email: [email protected]. DUE BY Monday 2.27.17 .

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New York / New York Film Festival, September 23 - October 9, 1994]
Document generated on 09/29/2021 7:21 p.m. ETC New York New York Film Festival, September 23 - October 9, 1994 Steven Kaplan La critique d’art : enjeux actuels 1 Number 29, February–May 1995 URI: https://id.erudit.org/iderudit/35725ac See table of contents Publisher(s) Revue d'art contemporain ETC inc. ISSN 0835-7641 (print) 1923-3205 (digital) Explore this journal Cite this review Kaplan, S. (1995). Review of [New York / New York Film Festival, September 23 - October 9, 1994]. ETC, (29), 23–27. Tous droits réservés © Revue d'art contemporain ETC inc., 1995 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ nm/AiMiiEi NEW YORK New York Film Festival, September 23 - October 9,1994 ike the universe at large, film festivals often find the invidious structure of white overseer (coach, recruiter) it reassuring to start up with a big bang. The recent feeding off the talents and aspirations of a black underclass. 32nd edition of the New York Film Festival opened As Arthur Agee and William Gates progress from the with the explosive Pulp Fiction, fresh from its hood to a lily white suburban Catholic school (a basketball success at Cannes, continuing the virtual powerhouse which graduated Isiah Thomas) and hence to Ldeification of writer-director Quentin Tarantino among college, we are aware of the sacrifices they and their the hip media establishment, and poising him for entry families make, the difficulties of growing up black and into a wider marketplace.
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DOCUMENTARY FILMS Page 1 of 10 DOCUMENTARY FILMS Documentary Films, strictly speaking, are non-fictional, "slice of life" factual works of art - and sometimes known as cinema verite. For many years, as films became more narrative- based, documentaries branched out and took many forms since their early beginnings - some of which have been termed propagandistic or non-objective. Documentary films have comprised a very broad and diverse category of films. Examples of documentary forms include the following: z 'biographical' films about a living or dead person (Madonna, John Lennon, Muhammad Ali - When We Were Kings (1996), Robert Crumb, Stephen Hawking in A Brief History of Time (1992), or Glenn Gould) z a well-known event (Waco, Texas incident, the Holocaust, the Shackleton expedition to the Antarctic) z a concert or rock festival (Woodstock or Altamont rock concerts, Madonna: Truth or Dare (1991), Stop Making Sense (1984)) z a comedy show (Richard Pryor or Eddie Murphy shows) z a live performance (Cuban musicians as in Buena Vista Social Club (1998), or the stage show Cirque du Soleil-Journey of Man (2000)) z a sociological or ethnographic examination following the lives of individuals over a period of time (e.g., Michael Apted's series of films: 28 Up (1984), 35 Up (1992) and 42 Up (1999), or Steve James' Hoop Dreams (1994)) z an expose including interviews (e.g., Michael Moore's social concerns films) z a sports documentary (extreme sports, such as Extreme (1999) or To the Limit (1989), or surfing, such as in The Endless Summer (1966))
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485 Svilicic.Vp
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