1 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 2 4. Cutaways/B-roll Static film footage - Mr. Death (1999) (D: Errol Morris) Also canted angle, music for emotional tone, sound effects - I Survived (2010) (D: various) Also use of titles to supplement interviewee/voiceover, music too 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 3 The Ken Burns Effect - The Civil War (1990) (D: Ken Burns) Discovery shot via tilt/zoom - The Times of Harvey Milk (1984) (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) Multiplaning - The Beaches of Agnes (2008) (D: Agnes Varda) Cat = Chris Marker Animation - Bowling for Columbine (2002) (D: Michael Moore) Split Screen - Woodstock (1970) (D: Michael Wadleigh) Time Manipulation - Koyaanisqatsi (2 clips; time lapse, fast motion, 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) Ironic counterpoint music (D: Michael Moore) Also archival footage Sound effects - Tales of the Rat Fink (2006) (D: Ron Mann) 4 7. Reenactments/Recreations/Reconstructions/Dramatizations Examples: 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) 3/28/12 .