Fredric has capitalized on sound approach in manipulating his films to deliver a particular point to the audience of his creativity. In “High School” 1969, he has used the portrait of dynamically institutionalized power between teachers, parents, and students of Northeast High School. The featured institution is located in a community composed of middle-class individuals of Philadelphia, and he has also used domestic violence to show its effects to the shelter of both women and children in Florida. His works are prominent examples of “observational” cinema, though they are connected to illustrate the importance of outstanding sound thematically. One imperative factor that Wiseman employs is the way he uses volume and music in walking around power and gender within the institutions affected by his artistic work (Wiseman et al. n.p.).
Another aspect that Wiseman uses is observational documentary, where the term observational points out to the direct cinema. This is a documentary approach that came into recognition when wireless sound synchronization moved away from the long time abandoned voice-over commentary to the better fashion of privileging and editing the content into finer details to capture the imagination and attention of the viewers. This technique can be seen when Wiseman talks of sound resulting to unnatural style when sound synchronization and editing are utilized (Benson, Thomas, and Anderson 158).
Wiseman also uses the style of observation in his film documentary challenges to enable the creation of an account that has got a strong arc, as well as one that can well construct scenes that have continuity and resolutions which help in giving his stories deeper meaning. This can clearly be seen when he describes his documentary narrations as being in one way or the other a reverse of making a fictional film. As a result of his style, the movie idea has been transformed into some script through imagination and his work, which has formed the basis of creative lessons for other artists after his work.
In High School, he makes use of cutaway so as to uphold a good sequence of the discourse in the conversation between Michael the student and Dr. Allen, because the students seem to be fighting for his principal through refusing to take up the detention penalty. A cutaway to Allen provides him an opportunity to compact some sections of the conversation. The practice of time condensing is also portrayed in the situation where two edits in a circumstance where Michael simply sits and then stands. Sitting instant can be identified through both heights of the camera and the match of the eye lines of Allen (Saunders 220).
How Does Moore Manipulate His Films To Generate A Particular Point Of View?
Michael has used omission in his story progressions, and he appears to fail in presenting some of the intended information in his documentaries. The omission is emphasized by the fact that most of the audience do not recognize that some content is missing. Through leaving out some of the intended information, the artist presents the audience with chances to develop their imagination and make their conclusion concerning the submitted evidence. It should, however, be noted that Moore has at no point failed to convey the truth, what he has mostly failed to do is to tell the entire truth, as critical reviews have come to show. A good example of this approach is where he decides to reveal just a section of information and omit the rest thus denying to inform the audience about the footage of the 9/11 terror attack (Moore 330).
Satire and great exaggeration is another approach that Moore has used in most of his films to stir and awaken the imagination of his audience. Here, most of his films have been said to be overly biased, full of prejudice, compressed and condensed. Most of his documentaries are subject to misrepresentation of the truth since they are always filmed through editing and the lens. Most of the situation that could have happened over long periods of time, such as from several weeks to some years have been compressed into presentations accounted in just a few hours. Satire and great exaggeration are evidently seen in the Rodger and me documentary to call attention to what people could see as higher truth. If this documentary was hewed to neutral, average and journalistic practice, it could have turned to be more entertaining, personal and even sharply targeting the intended audience and could have even turned out more successful.
To find a target, Moore has focused on his hometown in his film, Michigan, as most of his audience could relate and attest to the accounts being made in his art. According to Rogers and Me, closing down more than ten factories and laying off workers in the General Motors’ management was a creation of unimaginable hardships (Rabiger n.p.). ‘’Contextualization” is another strategy he used in the documentaries that have resulted in making his name. He seems to be very keen on the issue of “juxtaposition,” which has been significant in helping the audience paint the intended pictures in their brains, thus fostering their imaginations. This enables the audience to predict what is going to happen in the next moment, as the filmmaker has a pattern of presenting his content by constructing a bleed-through effect from one scene to another. The emotions obtained from one exhibition are used in coloring how the audience will interpret the substance of the next scene.
Which Filmmaker is The Most “Objective” And Which Director’s Films Have Had the Greatest Impact on Social Issues,
Wiseman is the most objective, and his films have the greater impact on social issues as his documentaries touch on various subjects that affect people’s social lives. Taticut follies is full of social life examples as it touches on what the audience may have been speculating and what might be the reality of the situation in the community. He has been able to increase public opinions and even sway legislation through this documentary.
Works Cited
Benson, Thomas W., and Carolyn Anderson. Reality fictions: the films of Frederick Wiseman. SIU Press, 2002.
Grant, Barry Keith, and Frederick Wiseman. Five Films by Frederick Wiseman: Titicut Follies, High School, Welfare, High School II, Public Housing. Univ of California Press, 2006.
Rabiger, Michael. Directing the documentary. CRC Press, 2014.
Saunders, Dave. Direct cinema: observational documentary and the politics of the sixties. Wallflower Press, 2007.Galloway, Dayna, Kenneth B. McAlpine, and Paul Harris. “From Michael Moore to JFK Reloaded: Towards a working model of interactive documentary.” Journal of Media Practice 8.3 (2007): 325-339.
Toplin, Robert Brent. Michael Moore’s Fahrenheit 9/11: How one film divided a Nation. University Press of Kansas, 2006.