By Sheila Curran Bernard
Up-to-date and better, with new case experiences and conversations with award-winning filmmakers together with Alex Gibney (Taxi to the darkish Side), James Marsh (Man on Wire), and Deborah Scranton (The warfare Tapes).
Documentary Storytelling has reached filmmakers and filmgoers world wide with its precise concentrate on the only most crucial element of documentary media-making: storytelling. Drawing at the narrative instruments of the artistic author, the original strengths of a visible and aural media, and the facility of real-world content material honestly awarded, Documentary Storytelling bargains suggestion for manufacturers, administrators, editors, and cinematographers looking to make moral and powerful nonfiction movies, and in the event you use those motion pictures to coach, tell, and encourage. specified interview chapters discover storytelling as practiced by means of well known manufacturers, administrators, and editors. This 3rd variation has been up to date and increased, with dialogue of more recent motion pictures together with Waltz with Bashir and Why We struggle.
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Additional resources for Documentary Storytelling: Creative Nonfiction on Screen
As the initial audience for your film, your gut reaction to the subject is important. Chances are it wasn’t a sweeping notion of Elvis Presley that caught your attention, but an account, perhaps, of his time in the military. It’s not the fact that there’s a diner in your home town, but that rising taxes and a dwindling customer base have left the owners open to offers from developers looking to build a mall despite significant local opposition. You hadn’t thought much about images of Islam in America until you watched a couple of newly arrived students from Iraq and the Sudan trying to make their way through a pep rally at your son’s school, and you found yourself seeing American culture—high school culture—through their eyes.
It’s this crazy soap opera about the gods fighting, a giant Aristotelian drama with characters and rising conflict and resolution and all that. ” Ken “Spike” Kirkland, in Sing Faster: The Stagehands’ Ring Cycle. Photo courtesy of Jon Else. WORK BACKWARD This one piece of advice touches on everything else in this chapter, but goes a step farther. First, understand that limitations can be enormously helpful in sparking creativity, while too much freedom can have the opposite effect. Second, be honest about what your limitations are, in terms of experience, access to equipment or personnel, and the level of resources available to you (including not only money Finding the Story 43 but also time).
Scene A scene is a consecutive group of shots within a single location. ” A scene is usually more than simply a snapshot of a location, however; it’s a subset of the overall action. A scene is made up of a series of beats. In Born into Brothels, the scene “The children ride a bus to the beach” might be broken down like this: • • • • • • 52 A few shots (interior, then exterior) show the children’s excitement that a bus has arrived and is waiting; From inside the bus, we see a child ask if she can sit by a window, because she wants to take pictures.