Stranger with a Camera and The House I Live In

In this essay, I shall try to illustrate whether analysing the movie Rear Window as a classical example of the Freudian concept of voyeurism, is appropriate. Voyeurism is defined in The Penguin dictionary of psychology as:

In this essay, I shall try to illustrate whether analysing the movie Rear Window as a classical example of the Freudian concept of voyeurism, is appropriate. Voyeurism is defined in The Penguin dictionary of psychology as:

Viewers must voyeuristically peer into the work, feeling as if they are trespassing into an intimate family space. Thus, Galindo at the same time highlights the conflict between the domestic nature of the work and its political impact.

The cast had difficulty acting and communicating through desired emotions. The persistent change of setting produced an unrecognizable environment that was fundamental for the story. At some point along the filming process Steven and I witnessed our production derailing, realizing that our final product would fail. The changes that occurred during our summer offered a new perspective both Steven and I were not envisioning. “Nonfiction” transformed from a somber film to a laissez-faire documentary about how best friends share a mutual appreciation of respect for each

The film “Stories We Tell” by Sarah Polley explores the life and death but also the secrets of the Polley family specifically Diane Polley. This film establishes two modes of documentaries: reflexive mode and participatory mode. These modes help develop the plot of the documentary and make the film more intimate to the viewer.

On Tuesday Oct 25, I went to attend a Film Screening and watched “That Strange Summer” by Geri Alumit Zeldes who is a filmmaker, journalist and associate professor at Michigan State University. After watching the film, there is a Q&A session and a lot of meaningful questions were asked.

Harold James Gilmore, who prefers you call him Jim, is a Clinical Professor of Communication for Journalism and Screen Studies at the University of Michigan Dearborn and has been for nearly a decade now and has had a professional career in the film industry for 18 years. Jim started out by making 8mm films as a kid, such as Sherlock Holmes meets Ping Pong, his own version of John Carpenter’s 1978 film Halloween and Gone with the Wind (1939). As an introvert, this was Jim’s way of getting to know people and get girls to hang out with him, as he put it “girls loved to be filmed.”

In the play “The Book Club” , a director selected this particular book club as the subject of his upcoming documentary. The director wanted the club members to ignore the camera and act as they would usually. The camera was initially hard to avoid , but in the end,

clear identity as a journalist and her cinema v?rit? style, it has been argued that Citizenfour could be perceived in two ways: a piece of advocacy journalism about the widespread surveillance as well as an extraordinary documentary film, regarded highly in its contribution to political film. As a professional journalist, her understanding of journalism strongly influences her production of the documentary. She believes that good journalism should provide the public with the ability to come away with different conclusions. She therefore embodies the legacy of cinema v?rit? created in the sixties. For example, with a runtime of 90 minutes, the documentary film My Country, My Country (2006) has no talking head or voiceover. This work of cinema v?rit? follows events as they unfolded in real time. In this film, Poitras records an everyday picture of real life: Dr. Riyadh meeting his patients, an arms dealer negotiating with a leader of the Australian private security team, and Dr. Riyadh making tea, etc. The everyday environment and routine that is usually absent in commercial media news reporting has been shot as essential footage in her documentary. Poitras acts as her own camerawoman and makes her film the camera-eye witness accountant (Danchev, 2015. p.134). In her words, the camera should not be the barrier, people always confront life decisions in real time. Unlike many documentarians, Poitras never presents herself when she conducts interviews or interacts

They might be compelled to modify the story to intensify the excitement, the conflict or the danger (Aufderheide, Jaszi and Chandra 2009). In Capturing The Friedmans, the filmmaker juxtaposes multiple formats of video resources, including the footage from the time of the criminal trial, the Friedmans’ family videos, David Friedman’s video diaries and the present-day interviews to dramatize the family rupture and their struggles (Bell,

While acknowledging that selectivity and dramatisation compromises the actuality of the film, Antonioni points out that the truthfulness of a documentary is based on the congruence of film representation to real life, rather than on the exactness of which film can reproduce reality. Hence, the essay argues that it is the extent of this congruence that affects a film’s truthfulness, more so than the ability to exactly replicate of reality. This focus on representation is echoed by Nichols (2001), who states that “documentary is not a reproduction of reality, it is a representation of the world we already occupy”. With regards to this, the reconstructed scenes in Black Prison-White Playground would affect the film’s representation of reality based on how similar these scenes are to the events that have

Yet, stories remain untold when people don’t watch them as well. The movie Dead Poet’s Society is a movie for romantics. People who can open their eyes to the world, but still keep dreaming. It's the cinematography, that guides our brain into that dream, the camera shots that puts us into that fantasy and the light that we follow into the deepest corners of our imagination. This movie taught me, to see beyond the shallow part of filmmaking, and to look beneath the mainstream storyline. To have a dream, and to live that dream is an alluring thing and as I watched this movie, I realized that it's ok to dream, to live in your imagination and to use the camera and lights to create that experience. To say it in the most simplest of terms, and the most basic of definitions; Don’t be afraid to stand up, on top of that desk and say “Oh Captain, my Captain” (Dead Poet’s Society) even if you're the quietest person in that

In this article, Hughes talks about the importance of including social issues into theatre and how people from journalism has perfected it and used it as a tool to address the issues of journalism more effectively. It tells the story of twin sisters Margaret and Allison Engel’s venture into documentary theatre.

Last April (2016) when I made my inaugural trip to the Artemis Film Festival, I came in contact with the works of a filmmaker that greatly intrigued me--Jill Morley. Although I didn't meet her nor screen her work at the festival, I have discovered that if Artemis promotes a filmmaker, it is worth my while to investigate the person. And that is exactly what I did. A few months back, Jill and I had the opportunity to chat, and in spite of her busy schedule, we briefly discussed her work within the indie film community, her various films and projects, and her "in-progress" works and future aspirations.

Influenced by my father’s career as an economist, I once aspired to step into the same path as he does. However, always staying up late for Cannes instead of the Fed, I realized my passion resides on films and have been writing film analyses on a weekly basis since the sophomore year. I am especially interested in arthouse films. What always fascinates me is how these filmmakers maximize their imagination and create heterodox ways of narrative to visualize emotion. Arthouse films have gone through several stages. From the rising of the European art cinema innovating styles of storytelling influenced filmmakers and audiences globally, to the recent era of pursuing fast and loud expression makes a rejection in the subtly and nuance.