P A R T 6
DOCUMENTARY AESTHETICS
Book I established the fundamentals of camera observation and of editing footage into a functional narrative. This Part is about documentary aesthetics, a phrase implying the luxury of choice when one often feels handcuffed by the documentary situation. An intended film about a primary school, for instance, may only seem to offer classroom material, teacher and children interviews, and visuals of kids in class or on the playground. But such limitations arise from conditioning by a television medium hobbled by factory schedules, budgets, and ratings.
Imagine instead that you are Vietnamese or Lithuanian and arrive to shoot in an English-speaking school. To your foreigner’s eyes, everything strikes you as different: ...
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