BRIT FILMS #8 – Accompanying material for media education FRUITVAL STATI!" USA 2013, 85 min. German certification: minimum age 12 recommended for 14 years and older !anguage: a c"oice #et$een %nglish or %nglish $it" German su#titles &irector 'yan (oogler Scri)t 'yan (oogler (inematogra)"y 'ac"el *orrison %diting *ic"ae +. S"a$,er, (laudia S. (astello *usic !ud$ig Goransson (ast *ic"ae -. .ordan *e onie &ia/ 0cta,ia S)encer 1e,in &urand and ot"ers A#out FRUITVAL STATI!" 2n t"e early "ours of Ne$ 4ear5s &ay 2006 at t"e 7ruit,ale train station in 0a8land, (alifornia, $"ite trans)ort o9cers dragged a grou) of #lac8 men o: t"e train $"ile responding to a call. 0ne o9cer shot and 8illed 22;year-old 0scar Grant $"ile t"e grou) $as detained on t"e )latform. 0scar $as anyt"ing #ut ,iolent. <e director recreates t"e fina 24 "ours in t"e life of 0scar Grant. =e decides on Ne$ 4ear5s %,e to #e more "onest to "is girlfriend, a #e>er fat"er to "is daughter, and a #e>er son to "is mot"er. 0n t"at day "e "e )s a customer at t"e su)ermar8et $"ere "e used to $ork, dumps t"e drugs "e $as dealing into t"e ocean, cele#rates "is mot"er’s #irt"day, and goes into t"e city to cele#rate Ne$ 4ear5s %,e $it" "is friends until "is life $as cut short #y a )olice o9cer. 'yan (oogler’s )ri/e;$inning lo$;#udget drama )resents 0scar5s daily routine and )ressures as $ell as t"e "armonious relationshi)s among different 8inds of )eo) e, and )eo)le $it" different skin co ours. <is de)iction of life in t"e -ay Area ma8es t"e racially moti,ated murder of 0scar Grant all t"e more shoc8ing. <e $orksheets address t"e follo$ing <e film’s dramaturgy and its ?uasi;documentary ?uality Similar cases of )olice ,iolence in t"e USA and lin8s to racism =o$ t"e camera ,ie$)oint re)resents relations of )o$er and )o$erlessness, and "o$ t"e lighting design )ortrays t"e c"aracters $u#li%hing information +u# isher: Aut"or: AG Kino – Gi de deutsc"er Fi mkunstt"eater Stefan Sti e>o 'an8estraAe 31 sti e>oCfilme;sc"oener;se"en.de 10B86 Ber in +"oto credits: D(M Fi mdistri#ution DA t"e sti s are from t"e E+1 of F'U2EFA!% SEAE20N, pu# ished in Germany by D(M Fi mdistri#ution. They ser,e as image quotations, to ena# e study of t"e film’s content, and not as i ustrations.) 1 'ramaturgy (it&out %u%pen%e 7'U2EFA!% SEAE20N refrains from using a classic sus)ense #uild u). 2nstead t"e film strings toget"er se,eral daily encounters. 2n )oint form note $"at t"e fo o$ing scenes re,eal a#out 0scar and $"at t"e scene says a#out t"e coexistence of )eo)le of different #ac8grounds and skin co our. Scene Meaning for t&e )lm IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII 0scar meets a $"ite customer in t"e su)ermarket and "e )s "er out IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII $it" a reci)e. IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII 0scar ta8es care of a dog t"at "ad IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII just #een "it #y a car. IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII <e train grinds to a "alt just #efore midnight and e,eryone on it IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII starts to dance. IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII <e $"ite o$ner of a store a o$s IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII t"e grou) to use "is restroom. IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII *amera (or+ and close,up <e camera in 7'U2EFA!% SEAE20N is a $ays searc"ing for a close;u) shot of 0scar. 2n a grou) discuss $"at meaning t"e meaning t"e close;u)s "a,e for t"e film. K"at )osition does t"e camera most oLen ta8e $"en filming 0scar? K"at is t"e )ur)ose of t"is angle? 2 $olice -iolence in t&e USA and accusations of racism *ore and more cases of )olice #rutality in t"e USA are in8ed to racist moti,es. 2n sma grou)s, researc" some #ac8ground information on t"e fo o$ing cases. 2n doing so, )ay specia a>ention to: =o$ )olice #rutality is documented and announced in t"e media 'eaction to t"ese cases (onse?uences t"is ,iolence "as for t"e )olice force 1661 'odney 1ing in !os Angeles, 1alifornien 1666 Amadou &iallo in Ne$ 4ork 2006 0scar Grant in 0a8land, 1alifornien 2012 Eray,on *artin in Sanford, 7lorida 2014 *ic"ae -ro$n in 7erguson, St. !ouis, *issouri 'esearc" film re,ie$s in t"e USA on 7'U2EFA!% SEAE20N Dfor examp e, on t"e $e#site $$$.ro>entomatoes.com) and e,aluate t"e criti?ues. K"at )lace does t"is film "a,e in t"e discussion of e,eryday racism in t"e USAM *amera $erspecti-e and $o(er <e follo$ing stills are from t"e scene $"en t"e )olice detain 0scar and "is friends on t"e )latform. 7or eac" still descri#e $"at )ers)ecti,e t"e camera ta8es and "o$ t"is inNuences "o$ t"e ,ie$er )ercei,es t"e c"aracters. (onsider t"e differences in camera )roximity. IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII 3 Racial pro)ling 'esearc" t"e meaning of t"e term racial )rofiling. (ompose a short definition in your o$n $ords. IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII &iscuss toget"er as a class t"e extent to $"ic" t"e c"arge of racia )rofiling a))lies to t"e e,ents sho$n in t"e film 7'U2EFA!% SEAE20N. (ompare t"e actua cell )"one ,ideo at t"e #eginning of t"e film $it" t"e restaging of t"e e,ent at t"e film’s end. "arrating (it& lig&t <e stills sho$n "ere are from different scenes from t"e film 7'U2EFA!% SEAE203. =o$ does t"e lighting affect t"e scenes? IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII &escri#e t"e mood t"at t"e lighting creates. IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII =o$ is 0scar )ortrayed in t"ese images? K"at is symbolism of t"e light in t"ese images for 0scar5s ifeM IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII 4.