DOCSLIB.ORG

Examining Markers of Authenticity in the Modern Documentary

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Examining Markers of Authenticity in the Modern Documentary San Jose State University SJSU ScholarWorks Master's Theses Master's Theses and Graduate Research Spring 2012 Nothing But The Truth And The Whole Truthiness: Examining Markers Of Authenticity In The Modern Documentary Andrew V. Dickerson San Jose State University Follow this and additional works at: https://scholarworks.sjsu.edu/etd_theses Recommended Citation Dickerson, Andrew V., "Nothing But The Truth And The Whole Truthiness: Examining Markers Of Authenticity In The Modern Documentary" (2012). Master's Theses. 4128. DOI: https://doi.org/10.31979/etd.xa9f-dgzx https://scholarworks.sjsu.edu/etd_theses/4128 This Thesis is brought to you for free and open access by the Master's Theses and Graduate Research at SJSU ScholarWorks. It has been accepted for inclusion in Master's Theses by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. NOTHING BUT THE TRUTH AND THE WHOLE TRUTHINESS: EXAMINING MARKERS OF AUTHENTICITY IN THE MODERN DOCUMENTARY A Thesis Presented To The Faculty of the Department of Television, Radio, Film, and Theatre San Jose State University In Fulfillment of the Requirements for the Degree Masters of Arts by Andrew V. Dickerson May 2012 © 2012 Andrew V. Dickerson ALL RIGHTS RESERVED The Designated Thesis Committee Approves the Thesis Titled NOTHING BUT THE TRUTH AND THE WHOLE TRUTHINESS: EXAMINING MARKERS OF AUTHENTICITY IN THE MODERN DOCUMENTARY by Andrew V. Dickerson APPROVED FOR THE DEPARTMENT OF TELEVISION, RADIO, FILM AND THEATRE SAN JOSE STATE UNIVERSITY May 2012 Dr. Alison McKee Department of Theatre Arts Dr. David Kahn Department of Theatre Arts Dr. Matthew Spangler Department of Communication Studies ABSTRACT NOTHING BUT THE TRUTH AND THE WHOLE TRUTHINESS: EXAMINING MARKERS OF AUTHENTICITY IN THE MODERN DOCUMENTARY by Andrew V. Dickerson This thesis examines the phenomenon comedian Stephen Colbert dubbed “truthiness” as it pertains to representations of authenticity in the documentary film genre. This thesis identifies several “markers of authenticity,” such as voice-over narration and confessional interviews, which have come to represent trustworthy representations of reality in the documentary form. This thesis also provides a content analysis of the markers’ use in five carefully selected contemporary documentaries, including Super Size Me (Spurlock, 2004) and Bowling for Columbine (Moore, 2002). The purpose of the study is to create a more comprehensive definition of the word truthiness as it pertains to the documentary film genre. The results of the study show that truthiness exists when a marker of authenticity is used to support the articulation of the documentarian’s viewpoint at the expense of a subject’s authenticity. The results of the study also show that truthiness exists when any marker of authenticity is used to convey a secondary meaning for comedic or ironic effect. ACKNOWLEDGEMENTS I would like to acknowledge the superhuman efforts of my advisor and first reader Dr. Alison McKee. The impact her knowledge, advice, and motivation had on the completion of this thesis is immeasurable. I do not believe I could have completed this work without her tireless commitment and for that I am eternally grateful. I would also like to acknowledge the efforts of my second reader Dr. David Kahn, who aided in the development of this thesis from its infancy three years ago. His never- ending enthusiasm for thought-provoking study and his work with the students of San Jose State University is commendable. I would also like to thank Barnaby Dallas and Nick Martinez for their help over the past seven years, spanning my undergraduate and graduate involvement with the San Jose State University Ice Hockey Team and the Television-Radio-Film-and-Theatre Department at San Jose State University. Their dedication to their respective disciplines in the department and University-related extracurricular activities is inspirational and I am honored to have worked with both of them. Finally, I would like to thank my parents, Carla and Rich, my brother, Brian, and my fiancée, Janelle, for their continued love and support. I could not have accomplished all that I have to this point, or all that I will in the future, without each of you. v TABLE OF CONTENTS CHAPTER 1: INTRODUCTION Significance of the Study ................................................................................................ 1 Literature Review ............................................................................................................ 5 CHAPTER 2: STRUCTURE OF RESEARCH Methodology ................................................................................................................. 15 Definition of Terms ....................................................................................................... 18 Markers of Authenticity ................................................................................................ 19 Voice-Over Narration and/or Subtitles ..................................................................... 21 Manipulation of Footage ........................................................................................... 22 “Talking Heads” or “Confessional” Interviews ........................................................ 26 Documentarian’s On-Screen Presence ...................................................................... 28 Documentarian’s Level of Intrusion ......................................................................... 30 Participants’ Consent ................................................................................................ 33 Staged Action ............................................................................................................ 34 Conclusion .................................................................................................................... 36 CHAPTER 3: SETTING THE STAGE – FILM DESCRIPTION Super Size Me (2004) .................................................................................................... 37 Spellbound (2002) ......................................................................................................... 38 An Inconvenient Truth (2006) ....................................................................................... 40 Food, Inc. (2008) .......................................................................................................... 41 Bowling for Columbine (2002) ..................................................................................... 43 CHAPTER 4: RESEARCH FINDINGS Voice-Over Narration and/or Subtitles ......................................................................... 46 Food, Inc. ................................................................................................................. 47 Bowling for Columbine ............................................................................................. 49 Super Size Me ............................................................................................................ 51 An Inconvenient Truth ............................................................................................... 53 Spellbound ................................................................................................................. 55 Synthesis ................................................................................................................... 57 Manipulation of Footage ............................................................................................... 61 Spellbound ................................................................................................................ 61 Super Size Me ............................................................................................................ 64 Bowling for Columbine ............................................................................................. 67 Food, Inc. .................................................................................................................. 70 An Inconvenient Truth ............................................................................................... 72 Synthesis ................................................................................................................... 73 Talking Heads or Confessional Interviews ................................................................... 77 vi Spellbound ................................................................................................................. 77 Food, Inc. ................................................................................................................. 79 Super Size Me ............................................................................................................ 81 Bowling for Columbine ............................................................................................. 83 An Inconvenient Truth ............................................................................................... 84 Synthesis ................................................................................................................... 85 Documentarian’s On-Screen Presence .......................................................................... 88 Super Size Me ............................................................................................................ 89 An Inconvenient Truth ............................................................................................... 91 Bowling for Columbine
Load more

Recommended publications
  • A Dangerous Summer
    theHemingway newsletter Publication of The Hemingway Society | No. 73 | 2021 As the Pandemic Ends Yet the Wyoming/Montana Conference Remains Postponed Until Lynda M. Zwinger, editor 2022 the Hemingway Society of the Arizona Quarterly, as well as acquisitions editors Programs a Second Straight Aurora Bell (the University of Summer of Online Webinars.… South Carolina Press), James Only This Time They’re W. Long (LSU Press), and additional special guests. Designed to Confront the Friday, July 16, 1 p.m. Uncomfortable Questions. That’s EST: Teaching The Sun Also Rises, moderated by Juliet Why We’re Calling It: Conway We’ll kick off the literary discussions with a panel on Two classic posters from Hemingway’s teaching The Sun Also Rises, moderated dangerous summer suggest the spirit of ours: by recent University of Edinburgh A Dangerous the courage, skill, and grace necessary to Ph.D. alumna Juliet Conway, who has a confront the bull. (Courtesy: eBay) great piece on the novel in the current Summer Hemingway Review. Dig deep into n one of the most powerful passages has voted to offer a series of webinars four Hemingway’s Lost Generation classic. in his account of the 1959 bullfighting Fridays in a row in July and August. While Whether you’re preparing to teach it rivalry between matadors Antonio last summer’s Houseguest Hemingway or just want to revisit it with fellow IOrdóñez and Luis Miguel Dominguín, programming was a resounding success, aficionados, this session will review the Ernest Hemingway describes returning to organizers don’t want simply to repeat last publication history, reception, and major Pamplona and rediscovering the bravery year’s model.
    [Show full text]
  • 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.
    [Show full text]
  • A Film by Chris Hegedus and D a Pennebaker
    a film by Chris Hegedus and D A Pennebaker 84 minutes, 2010 National Media Contact Julia Pacetti JMP Verdant Communications [email protected] (917) 584-7846 FIRST RUN FEATURES The Film Center Building, 630 Ninth Ave. #1213 New York, NY 10036 (212) 243-0600 Fax (212) 989-7649 Website: www.firstrunfeatures.com Email: [email protected] PRAISE FOR KINGS OF PASTRY “The film builds in interest and intrigue as it goes along…You’ll be surprised by how devastating the collapse of a chocolate tower can be.” –Mike Hale, The New York Times Critic’s Pick! “Alluring, irresistible…Everything these men make…looks so mouth-watering that no one should dare watch this film on even a half-empty stomach.” – Kenneth Turan, Los Angeles Times “As the helmers observe the mental, physical and emotional toll the competition exacts on the contestants and their families, the film becomes gripping, even for non-foodies…As their calm camera glides over the chefs' almost-too-beautiful-to-eat creations, viewers share their awe.” – Alissa Simon, Variety “How sweet it is!...Call it the ultimate sugar high.” – VA Musetto, The New York Post “Gripping” – Jay Weston, The Huffington Post “Chris Hegedus and D.A. Pennebaker turn to the highest levels of professional cooking in Kings of Pastry,” a short work whose drama plays like a higher-stakes version of popular cuisine-oriented reality TV shows.” – John DeFore, The Hollywood Reporter “A delectable new documentary…spellbinding demonstrations of pastry-making brilliance, high drama and even light moments of humor.” – Monica Eng, The Chicago Tribune “More substantial than any TV food show…the antidote to Gordon Ramsay.” – Andrea Gronvall, Chicago Reader “This doc is a demonstration that the basics, when done by masters, can be very tasty.” - Hank Sartin, Time Out Chicago “Chris Hegedus and D.A.
    [Show full text]
  • Delve Deeper Into Food, Inc a Film by Robert Kenner
    Delve Deeper into Food, Inc A film by Robert Kenner This multi-media resource list, Public Affairs, 2009. Expanding Second Nature: A Gardener's compiled by Susan Conlon and on the film’s themes, the book Education (1991). Martha Perry of the Princeton Food, Inc. will answer those Public Library, includes books, questions through a series of Richardson, Jill. Recipe for films and other materials challenging essays by leading America: Why Our Food System related to the issues presented experts and thinkers. This book will is Broken and What We Can Do in the film Food, Inc. encourage those inspired by the to Fix It. Ig Publishing, 2009. film to learn more about the issues, Food activist Jill Richardson shows In Food, Inc., filmmaker Robert and act to change the world. how sustainable agriculture—where Kenner lifts the veil on our nation's local farms raise food that is food industry, exposing the highly Hamilton, Lisa M. Deeply healthy for consumers and animals mechanized underbelly that's been Rooted: Unconventional and does not damage the hidden from the American consumer Farmers in the Age of environment—offers the only with the consent of our Agribusiness. Counterpoint, solution to America’s food crisis. In government's regulatory agencies, 2009. Journalist and photographer addition to highlighting the harmful USDA and FDA. Our nation's food Hamilton presents a multicultural conditions at factory farms, this supply is now controlled by a snapshot of the American timely and necessary book details handful of corporations that often sustainable agriculture movement, the rising grassroots food put profit ahead of consumer profiling a Texas dairyman, a New movement, which is creating an health, the livelihood of the Mexican rancher and a North agricultural system that allows American farmer, the safety of Dakotan farmer, all who have people to eat sustainably, locally, workers and our own environment.
    [Show full text]
  • E Thomas Jefferson, a Film by Ken Burns
    Kick offl TRMA NIGHT, hosted by NHPR's Civics 101 Podcast A Come and see how much you know about our Founding Documents! J e Tuesday, January 28, 6pm, Ffrost Sawyer Tavern at the Three Chimneys Inn n u The History of the New Hampshire Primary e A NH Humanities Program presented by John Gfroerer r Wednesday, January 29, 7pm, Madbury Public Library An Introduction to the Declaration of lndependence A talk by Eliga Gould, UNH Professor of History Monday, February 3, 6pm, Durham Public Library join a conversation about the Declaration of lndependence with a UNH graduate student of American History - bring your thoughts & questions Thursday, February 6, 6pm, Durham Public Library 1776, (1972) an historical musical comedy about the Declaration of lndependence nominated for the Golden Globe Award for Best Picture Sunday, February 9, 4pm, Freedom Cafe, Durham E Thomas Jefferson, a film by Ken Burns Part 1: Thursday, February 13, 6 pm, Community Church of Durham ' Part 2: Tuesday, February 18, 6 pm, Community Church of Durham A community reading of "What to the Slave is the Fourth of July?" by Frederick Douglass Sunday, February 16, 4pm, Waysmeet Center, Durham A day trip to the NH Historical Society and a tour of the NH State Capitol To signup go to durhamrec.recdesk.com Wednesday, February 19, organized by Durham Parks and Recreation An introduction to the US Constitution and Bill of Rights A talk by Eliga Gould, UNH Professor of History Monday, March 2, 6pm, Madbury Public Library Join a conversation about the US Constitution with a UNH graduate student of American History - bring your thoughts & questions Thursday, March 5, 6pm, Madbury Public Library Notfor Ourselves Alone: The Story of Elizabeth Cmy Stanton & Susan B.
    [Show full text]
  • Monterey Pop Festival: Otis Redding / Jimi Hendrix
    Der folgende Text erschien zuerst in: Kieler Beiträge zur Filmmusikforschung 5.4, 2010, S. 501 - 505. Er findet sich nun auch im „Archiv der Rockumentaries“ der Zeitschrift Rock and Pop in the Movies: Ein Journal zur Analyse von Rock- und Popmusikfilmen. ZWEI NACHTRÄGE ZUM MONTEREY POP FESTIVAL: OTIS REDDING / JIMI HENDRIX Claus Tieber Rund 20 Jahre nach MONTEREY POP [1] machten D.A. Pennebaker und Chris Hegedus aus dem 1968 gedrehten Material zwei weitere Filme, in deren Mittelpunkt die Auftritte von Otis Redding und Jimi Hendrix stehen. Beide Shows sind vollständig dokumentiert, die Filme dauern 19 (Redding) bzw. 49 Minuten (Hendrix) und werden sowohl aus inhaltlichen wie aus pragmatischen Gründen zumeist gemeinsam gezeigt. Die beiden Shows heben sich aus unterschiedlichen Gründen vom Rest des Festivals ab – und das nicht nur, weil Redding und Hendrix die beiden einzigen afro-amerikanischen Musiker des Festivals waren. Beide Filme sind in der DVD-Box The Complete Monterey Pop Festival der Criterion Collection (Ausg. 167) enthalten (3 DVDs, USA 2002, kein Regional-Code). SHAKE! OTIS AT MONTEREY USA 1989 R: Don A. Pennebaker, Chris Hegedus, David Dawkins. P: Alan Douglas. K: Nick Doob, Barry Feinstein, Richard Leacock, Albert Maysles, Roger Murphy, D.A. Pennebaker, Nicholas T. Proferes. T (Re-Recording): Dominick Tavella. Musiker: Otis Redding with Booker T. and the MGs and the Markeys (Booker T. Jones: org., Steve Cropper: git., Donald "Duck" Dunn: b, Al Jackson Jr.: dr., perc.; Wayne Jackson: tr, Joe Arnold; t-sax, Andrew Love b-sax). 19min. 35mm, 1,33:1. Farbe. Songs: Shake, Respect, I’ve been loving you too long, Satisfaction, Try a Little Tenderness.
    [Show full text]
  • A Pilot Method for Movie Selection and Initial Results
    Movies for use in Public Health Training: A Pilot Method for Movie Selection and Initial Results Nick Wilson,* Rachael Cowie, Michael G Baker, Philippa Howden-Chapman Department of Public Health, University of Otago, Wellington, New Zealand October 2009 *Correspondence to: Dr Nick Wilson Department of Public Health, University of Otago, Wellington PO Box 7343 Wellington South, New Zealand. Phone (64)-4-385 5541 ext. 6469 Fax (64)-4-389 5319 Email: [email protected] Abstract Background: A method for systematically identifying, selecting, and ranking high quality movies for public health training does not exist. We therefore aimed to pilot a method and use it to generate an initial selection of suitable movies in a range of public health categories. Methods: To identify possible movies, systematic searches were undertaken of two large movie databases. If meeting minimal criteria for entertainment value (using public and critic ratings), the movies were then systematically evaluated for training suitability. Results: Using the search strategy we developed, it appeared feasible to systematically identify movies of potential educational value for public health training. Out of a total of 29 movies selected for viewing and more detailed assessment, the top ranked 15 were selected as having reasonable potential for training. There was a high correlation between scores of the movie assessors (Spearman’s rho = 0.80, p<0.00001). Also 75% of the top 15 movies were found to be referred to in Medline-indexed publications. Conclusion: This pilot study was able to develop a method for systematically identifying and selecting movies that could potentially be used for public health training.
    [Show full text]
  • DOCUMENTARY FILMS Page 1 of 10
    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))
    [Show full text]
  • One of Us Discussion Guide
    www.influencefilmclub.com One of Us Discussion Guide Director: Heidi Ewing & Rachel Grady Year: 2017 Time: 95 min You might know this directorial team from: Norman Lear: Just Another Version of You (2016) Detropia (2012) 12th & Delaware (2010) Jesus Camp (2006) The Boys of Baraka (2005) FILM SUMMARY Much like trying to escape the clutches of an extreme religious cult, it turns out leaving Brooklyn’s Hasidic Jewish society without some sort of psychiatric (and in some cases physical) damage is rather difficult. As a cloistered community constructed in the wake of the Holocaust with the sole purpose of self-preservation, the Hasidic populace live under strict religious law and patriarchal control, with its own private school system and emergency services. With ONE OF US, co-directors Heidi Ewing and Rachel Grady had to develop a covert system for shooting in order to infiltrate this reticent community as they documented a trio of Jews whose curiosity led them away from the laws of their faith and into the secular world. Ari, the youngest at 18, discovers the wonders of the internet. He soon realizes just how much of the world has been kept from him, having been raised in religious schools without access to outside information in any form. Luzer, having left years prior, lives in a mobile home in Los Angeles with dreams of breaking into Hollywood and nightmares of religious upbringing. Both men are frank about their sheltered, stifling, abusive experiences growing up. And yet they continue to mourn their loss of purpose—something that all men of faith possess— while their curiosity about the greater world leaves them permanently searching.
    [Show full text]
  • Hulu No Longer for Sale, Owners Say 14 October 2011, by RYAN NAKASHIMA , AP Business Writer
    Hulu no longer for sale, owners say 14 October 2011, By RYAN NAKASHIMA , AP Business Writer After months of being courted by technology giants launching the premium tier last November. CEO and TV signal providers, online video service Hulu Jason Kilar has said Hulu is on track to make is no longer for sale, its media company owners around $500 million in revenue this year, up from said Thursday. $263 million in 2010, and that the company is profitable. The Walt Disney Co., News Corp., Comcast Corp. and Providence Equity Partners had been In comparison, Netflix had 24.6 million paying shopping the site since June after receiving an subscribers at the end of June, but it warned last unsolicited takeover offer. month that it expected a net 600,000 to leave by the end of September after a series of unpopular They tested the waters for other interest, and decisions. They included hiking prices as much as dozens of companies, from Internet giants Google 60 percent on millions of customers and splitting its Inc. and Yahoo Inc. to satellite TV providers Dish streaming and DVD-by-mail services into two Network Corp. and DirecTV, began circling. separately-billed operations, a move it has since reversed. But the owners said in a joint statement Thursday that Hulu "holds a unique and compelling strategic Hulu's value may have fallen after consumers were value to each of its owners" and that they would seen railing against Netflix's price increase and refocus on "mapping out its path to even greater Netflix balked at paying an estimated $300 million a success." year for Disney and Sony movies through pay TV channel Starz, said Needham & Co.
    [Show full text]
  • Recruiting Al Gore
    RECRUITING AL GORE For years, he was introduced as the “next President of the United States” -- but in the wake of a personally devastating and controversial defeat in the 2000 election, Al Gore did something entirely unexpected. He hit the road, not in search of exile, but as a traveling showman. His “show” is a non-partisan, multimedia presentation that reveals, via an original mix of humor, cartoons and convincing scientific evidence, the resonant effects that global warming is wreaking upon our planet. It is also an arresting, inspirational “call to arms,” pointing out the opportunity that stands before the nation to put American ingenuity and spirit to work in attacking this crisis. With little fanfare, Gore has presented his show more than 1,000 times in cramped school auditoriums and hotel conference rooms in cities large and small, hoping to propel audiences to make a difference in what might otherwise turn out to be the biggest catastrophe of human history. Two people who became entranced by Gore’s show are leading environmental activist Laurie David and movie producer Lawrence Bender. David hosted two of Gore’s sold-out presentations in New York and Los Angeles, where it had a transforming effect on her. “I felt like Al Gore had become the Paul Revere of our times,” says David, “traveling around the country calling out this vital warning that we really can’t ignore.” She also realized that Gore faced a daunting uphill battle in getting his message out into the zeitgeist. “Having researched this subject for some 40 years, nobody understands the issue better than Al Gore and nobody can explain it more clearly and compellingly to the lay person,” notes David.
    [Show full text]
  • A Communication Study of Contemporary Documentary Film
    University of Mississippi eGrove Honors College (Sally McDonnell Barksdale Honors Theses Honors College) 2007 Art and Persuasion: A Communication Study of Contemporary Documentary Film Lauren Elizabeth Freeman Follow this and additional works at: https://egrove.olemiss.edu/hon_thesis Recommended Citation Freeman, Lauren Elizabeth, "Art and Persuasion: A Communication Study of Contemporary Documentary Film" (2007). Honors Theses. 2004. https://egrove.olemiss.edu/hon_thesis/2004 This Undergraduate Thesis is brought to you for free and open access by the Honors College (Sally McDonnell Barksdale Honors College) at eGrove. It has been accepted for inclusion in Honors Theses by an authorized administrator of eGrove. For more information, please contact [email protected]. ART AND PERSUASION: A COMMUNICATION STUDY OF CONTEMPORARY DOCUMENTARY FILM By Lauren Elizabeth Freeman A thesis submitted to the faculty of the University of Mississippi in partial fulfillment of the requirements of the Sally McDonnell Barksdale Honors College. Oxford May 2007 Approved by , , L Ad^or: Professor Joe Atkins Readei1p^fessoLPmch£ll££maiiuel,PhD Reader: Professor Charles Gates, PhD ©2007 Lauren Elizabeth Freeman ALL RIGHTS RESRERVED ACKNOWLEDGEMENTS The author of this paper incurs many debts of gratitude throughout the long and tedious process of completing this honors senior thesis. A special expression of gratitude goes to my thesis adviser, Professor Joseph Atkins, for his supportive direction throughout the preparation of this research project. Sincere appreciation is extended to niy thesis readers. Dr. Michelle Emanuel and Dr. Charles Gates, and to those filmmakers who shared their time and thoughts with me on documentary filmmaking. I extend my heartfelt gratitude to my family and fnends for their continued support and encouragement.
    [Show full text]