Monday, September 10th, 2012--515 pm

Hello,

Lots of information to give to you:

A. As discussed in class today, there will be NO CLASS this Friday, Sept. 14th and NO CLASS next week on Monday Sept. 17th and Wednesday, Sept. 19th.There IS class on Friday, Sept. 21st.  While I am gone, I expect you to view the documentary film, Daughter from Danang, on line. You can locate the film by accessing the link below:

http://www.youtube.com/movie?v=2ueTwnMb8dI&feature=mv_sr

When you open the link, there is a short synopsis of the film that you should read before viewing.

B. While you are viewing the film, you will want to consider the following questions. YOU ARE NOT REQUIRED TO SUBMIT THE ANSWERS TO ME. These questions are merely issues and ideas for you to consider while watching the film. If you have a specific, thoughtful and well supported response for each of these questions, you will do well on the in class writing response, In Class Essay #1. We will discuss the film as a class on Friday, the 21st. 

You may bring any notes you have taken while watching the film and/or discussing it in class with you to refer to on the day of the in-class writing, Monday, Sept. 24th.

STUDY QUESTIONS---THINGS TO THINK ABOUT

1. One reviewer describes the film as a “gut-wrenching examination of the way cultural differences and emotional expectations collide.” Would you agree this is an accurate description? Why or why not? Explain specifically.

2. Were there parts of the film that made you feel uncomfortable? If so, what were those parts and can you articulate why they made you feel uncomfortable?

3. Heidi acutely feels that she has been rejected by two mothers: her birth mother who gave her up and her Tennessee mother, whose cold, untouching demeanor drove a wedge between them. How does this fact impact Heidi and what she ultimately experiences when she returns to Vietnam?

4. The film is considered a very powerful one by many other small filmmakers as well as many reviewers. In your opinion, what makes this an effective or ineffective film?

5. What preconceived ideas about home are proven inaccurate after viewing the film?

6. In an interview with the filmmakers, they admit that when they decided to film Heidi’s return to Vietnam, they assumed that the reunion would be a healing story, a kind of full circle coming home. The war in Vietnam was long over and they felt they could create a film that would ease the collective pain that is still connected to the war. Instead, what they did discover?

7. Some viewers have condemned Heidi for representing an aspect of American culture that they believe is selfish and individualized. What do you think and feel about Heidi’s reaction for the family’s request for money?

C.  I highly recommend that you view the documentary a few times.

D. On Monday, Sept. 24th, please bring a blue or green book to class. This is for your first of two in class essays for this semester. If you have determined specific and well supported responses for the study questions, you will do well on the essay.  On the day of the in class writing, you will have a choice of writing topics. You will choose one only out of four prompts.

E.  Below you will find a handout for you to read and "digest." It focuses on the differences between documentary films and narrative films. We will be watching one of each this semester. Obviously, you will first focus on the information regarding documentary films.

English 1A

Prof. Fraga

In preparation for viewing the second film for the semester

and for viewing a documentary next week.

Purpose:

Just as reading fiction, non-fiction and poetry can aid in the development of a discriminatory, critical mind—and lead to critical writing and analysis in ANY area or topic—the viewing of films can elicit the same result.

A narrative film is a work of fiction.

A documentary film is a form that purports to report on the world as it exists.  The documentary filmmaker uses various well-known techniques taken from the world of news reporting:

• reporting events as they happen,
• recording interviews with participants, and
• utilizing photographs and testimony of historical figures to portray past events.

Sometimes, the distinction between narrative and documentary has to be carefully drawn.

For example, occasionally actors are used to portray characters in historical documentaries such as Ken Burns’ Jazz, usually in voice-over.  On the other hand, narrative films will often borrow various documentary techniques:  Steve Soderberg in Traffic used hand-held cameras and a complicated interweaving of different stories to mimic a documentary “feel.”  Nevertheless, it is clear that Traffic is a narrative film, and Jazz is a documentary.

It is generally assumed that documentaries will not deliberately falsify a view of reality…however, it is true that inevitably the documentary will reflect the filmmaker’s point of view, resulting in some manipulation of the absolute truth.  The main way documentaries shape the story is through

• choosing the interview subjects,
• selecting certain shots and framing devices,
• and most importantly by editing the material to support their vision as filmmakers.

To be sure, the director of a documentary may often attempt to show a balanced point of view by posing questions regarding a problem or by advancing various solutions.

But often a documentary will abandon such an attempt and use powerful evidence to advance a certain ideological argument, as in the classic Harlan County, USA, about a miners’ strike in Harlan County, Kentucky, in 1973.  Here, the miners’ side in the strike is presented through emotional interviews, songs, meetings, and events on the picket line, while what little we see of the owners’ point of view is presented in a negative light.  This kind of documentary that presents an argument is called a rhetorical form of documentary.

In evaluating a documentary it is important to understand what kind we are judging and thus what the filmmaker’s objectives are: 

• Is the filmmaker trying to put forth his or her own point of view or attempting to show a balanced point of view? 
• What techniques are being used to reveal the point of view? 
• What methods are used to gather data? 
• What are the criteria for choosing the people to be interviewed? 
• What kind of shots are used to portray the subjects, and how does editing contribute to the ideological and emotional effect of the film?

THE NARRATIVE FILM—how to evaluate

In evaluating whether a film is “good” or not, it is important to consider a few main points that will aid in discussion and in writing a critical response.

1. Do the most important filmic elements such as photography, acting, editing and design support and complement each other?  Is this unified style supportive of a strong theme?  Does the film fit into a certain genre? Does it imaginatively add something to the traditions of that genre or does it merely copy them in a clichéd manner?
2. Do events flow naturally, and in this flow of action are there surprises and twists that engage an audience’s interest? Is there a strong climax and resolution?  If the structure is nonlinear, do these varied elements build to some powerful emotional and/or intellectual effect?  Does the dialogue seem appropriate to the style and environment of the film? If it is meant to be a realistic film, is the dialogue natural and spontaneous?
3. Do the characters and relationships seem specific and real?  Do we identify with their goals and problems?  Do the actors seem convincing?  Do the actors present well-observed character details?  Is there emotional truth in the playing?  Is the acting style appropriate for the specific film genre?
4. Finally, looking at the film as a WHOLE…Common sense issues are very relevant.  For example, does the film hold our interest throughout? Do we care about what happens on the screen?  After the film, does it have a powerful effect on us?  The answer to this last question separates the great films from the merely good ones.