Week 5: the end

Here we are. Judgement day. After 5 weeks of analysing documentaries with my own novice eye, a bit of introspection might be just what I need. I’ll start with the easy part – working with the class. In our face-to-face meetings, the discussions had in COAS250 have been enlightening. I’ve enjoyed hearing views from people... Continue Reading →

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Week 4: Choose-your-own-non-interactive-adventure

Image Sources Interactive: engaging, relationships, alternative, involvement, innovative, attention grabbing, new audiences. These are all the traditional buzz words that float around interactive, journalistic stories or documentaries. These phrases and the intent behind the interactive medium are indeed as positive as they sound. The notion that an audience can go online and take part in... Continue Reading →

Week 3: subject, object and acceptance

This week’s class has been daunting. I’ve had the sudden realisation that I don’t know how to use a camera and have NO idea what I’m doing in regards to the stylistic components of documentary making. In my team’s ‘Nature on Campus’ piece we struggled with aperture, white balance, sound, zooming – pretty much every... Continue Reading →

Week 2: people, ethics and a lack of poetry

Fellow documentarians, I’ve encountered a problem; I’m not ‘artistic’. As we watched Dziga Vertov's Man With a Movie Camera this week, I could recognise its (overtly positive) commentary on Russian society and its playful recognition of the filmmaking process through its poetic and reflexive nature. But I just wasn’t interested. Yes, the film does tell a story,... Continue Reading →

Week 1: all that is documentary

As someone who generally has their books colour coded weeks before the semester begins, I’ve uncharacteristically missed my first and long awaited New Documentary class. So, as I naively delve into the world of documentary, I’ll focus on the theory for this week from Henrik Juel, as a full copy of Lovely Andrea has been... Continue Reading →

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