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COM 321, Documentary Form in Film & Television
Techniques--Part 2
II. Selected Shot Types
A. ECU
- Jacquot de Nantes (1991) Also reenactment, archival footage
(D: Agnes Varda)
B. Canted angle
- The Fog of War (2003) (D: Errol Morris)
C. Aerial shot
-Koyaanisqatsi (2 clips) (1982) Also music for emotional tone
(D: Godfrey Reggio)
D. 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)
III. Selected Shooting Techniques
A. Tracking shot
- Night and Fog (1955) (D. Alain Resnais) Also discovery shot (tilt)
B. Black & white/Color footage
- Night and Fog (same clip as last)
C. Lighting—Classical
- The King of Kong: A Fistful of Quarters Also MS, subject eyeline at
(2007) (D: Seth Gordon) interviewer
D. Lighting—Naturally-occurring, Directional
- Monterrey Pop (1968) (D: D. A. Pennebaker)
E. Lighting—High contrast
- Mr. Death (1999) (D: Errol Morris) Also slo-mo, music for emotional
tone, cutaway
IV. Cutaways/B-roll Types
A. Static (original) 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
B. Stock footage
- Tales of the Rat Fink (2006) Also animation, VO 1st person,
(D: Ron Mann) sound effects
C. Archival/historical footage
- The Fog of War (2003) (D: Errol Morris)
- The Atomic Café (1982) (D: Jayne Loader,
Kevin Rafferty, Pierce Rafferty)
D. 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
E. 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.)
V. Editing & Effects
A. Long take
- Baraka (1992) (D: Ron Fricke) Also discovery shot (tilt down)
B. Quick cutting
- The Man with the Movie Camera
(1929) (D: Dziga Vertov)
C. Film montage
- Woodstock (1970) (D: Michael Wadleigh) Montage is thematic or historical
D. Photo Animation
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)
E. Cartoon-type manipulation
- Tales of the Rat Fink (2006) (D: Ron Mann) Multiplaning
- The Beaches of Agnes (2008) (D: Agnes Varda) Cat = Chris Marker
F. Animation
- Bowling for Columbine (2002) (D: Michael Moore)
G. Split Screen
- Woodstock (1970) (D: Michael Wadleigh)
H. Time Manipulation
- Koyaanisqatsi (2 clips; time lapse, fast motion, slo-mo mixed)
(1982) (Godfrey Reggio)
I. Stop-motion animation
- The Man with the Movie Camera Also multiple exposure,
(1929) (D: Dziga Vertov) eyeline match
VI. Selected Use of Music
A. For emotional tone, non-diegetic
- The Times of Harvey Milk Also acquired footage, archival
(1984) (D: Robert Epstein) footage
B. Purely diegetic
- Gimme Shelter (1970) Also handheld camera
(D: Albert Maysles, David Maysles,
Charlotte Zwerin)
C. For commentary, non-diegetic
- Bowling for Columbine (2002) Ironic counterpoint music
(D: Michael Moore) Also archival footage
D. Sound effects
- Tales of the Rat Fink (2006)
(D: Ron Mann)
VII. 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)
Bestiality
- Zoo (2007) (D: Robinson Devor)
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