STREETWISE

The title alone of the documentary is very interesting, it is not street kids or something of that nature, instead the word "wise" is employed. There is a segment of the documentary that deals with the "wise" and I would argue it is a very strong move to not only correctly identify these kids, but also give them credit for how they have made do. Rat is especially interesting to me, he has this rebel attitude yet he is a pretty small guy, only 13. His rough exterior and the stories he tells the filmmakers really show him as "streetwise," however I think he might have exaggerated. (That is a judgment call that I can't really prove, however that is the impression I got after listening to some of his stories.) Nevertheless he is fascinating to me, especially when I think about what I was doing at 13, and my lack of independence.

The Unforeseen

One of my favorite aspects of this film is how Dunn cuts between a set group of people/interviews.  The way she times dialogue to overlap into the next scene is amazing.  The constant cuts along with how she incorporates soundtrack make the movie cinemagraphically interesting as well as just cool to watch.  From the very beginning of the film through the end this method of constant cuts is employed.  There is a specific part where someone is taking about farming and farmers then a quick cut to the farmer from Huotto speaking.  This cut is all timed on the word farmer, its brilliant.    

SICKO

Michael Moore's Sicko is a film that draws much on pathos as opposed to any other rhetorical appeal. His use of pathos via personal stories and interviews had a very strong effect on me. Listening to horror stories on victimization in the healthcare system was difficult to watch, despite my opposition to government run healthcare. It was difficult to remain unbiased when watching this film because of my viewpoint. I understand that health insurance companies are corrupt and do deny people for ridiculous things to save money, but I haven't personally run into these problems. Not to say I am unsympathetic more so it is difficult to identify with the victims. There were several personal stories/interviews that had a big impact on me. Donna and her husband's story, Tracy and his wife, and the woman who's insurance denied coverage of her ambulance (despite being unconscious after a car accident). These people tugged on my heart strings, but I still stay fairly firm on my viewpoint that socialized healthcare would impact patient care. To me that is more of a doctor/government issue not necessarily an insurance company issue.

Vincent Laforet "River to River" Manhattan 2007

This Vincent Laforet photograph, "River to River" is unlike any other photograph I have ever seen it is created using a circular fisheye lens.  The fisheye creates an interesting "from space" quality to the Manhattan skyline.  I really like the way Laforet uses light in the photograph.

The way the street bisects the center of this view from the fisheye lens really creates visual interest.  The most exciting part of this image is the techniques employed, however, even without such a technique of view of the city from this high up is stunning.  Not only does this image have a "from space" quality, but also the detail and clarity in the image of the building is remarkable.  The way the rivers frame the city is also amazing.  It is so crazy to me that an image of Manhattan can have an unattainable aspect such as this. 

"V-J, Times Square, 1945" Alfred Eisenstaedt

Most Americans are able to recall certain photographs taken throughout history. The photograph by Alfred Eisenstaedt was taken after the announcement of Japan's surrender in WWII.  Most people think of this photograph as a portrayal of a very intimate moment between a couple, specifically a sailor returning from his service in the war, however, the real story behind this image is quite different.  Apparently the sailor in this picture, for fear of another deployment, was running around Times Square kissing every girl he could find.  Who or how old the girl was did not matter.  Quite ironic if you truely consider such an iconic image of Americana has an almost secret story behind it.  

Nevertheless, I love this image.  In fact, I own a print of it, not because of what the real story is but because it is a beautiful photograph depicting many different emotions.  Other sailors and people walking by the couple, the excitement of Times Square itself and of course the passion behind the sailor's embrace of this woman.  Details such as the woman's kicked up foot along with the group of women behind the couple ogling and what is occurring.  Most likely making up a similar romantic story that the rest of the American public will soon embrace, the photograph was published in Time Magazine.

Fahrenheit 9/11

I wonder consider myself fairly politically liberal.  The soundtrack was the first aspect of the film to stand out to me.  The images would not have struck me as odd if the music was not with it. The soundtrack transformed these images into an eerie flashback of various speeches and press conferences and had a "limited access" emotion.  This sense of eerie images and limited dialogue caused me to wonder what would happen next.  The next scene is what I came to intrepret as the black box recordings.  Not only did I find these recording intrusive and disrespectful but after listening to this scene I had to turn off the film.  The fact that a private moment such as this was exploited by Moore disgusted me.  When thinking about the film all I can think about is the first 5 min, that include that black screen only voices and sounds scene.  To have such a strong opinion of a film is rare for me, however, it did a great deal to help me understand the "anti-Moore" sentiment in America today.

 

Hearts and Minds

Hearts and Minds was a very compelling documentary.  Many of the scenes were difficult to watch of difficult to hear some of the interviews from soldiers, but it was powerful and made a very strong argument.  The film argues that the Vietnam War was a mistake of the US government produced by deceit and brainwashing of soldiers and the killing and genocide of many innocent Vietnamese.  

The main aspect of the documentary that stood out to me was a specific quote: "How do we know we are not fighting on the wrong side?  On the wrong side? We ARE the wrong side."  After this quote my entire feeling of the documentary changed.  I then was compelled to see the horribly negative images and embrace the consequences of the US's essential ruin of Vietnam.  The way the camera cut from an interview with a Vietnam veteran, to a film clip accompanied by strong soundtrack, to a scene of a destructed village or a speech by a President supporting "our efforts" in the Vietnam War was fascinating.  

After the "wrong side" quote all of the arguments that I saw being made, or evidence used to support those arguments was more powerful.  I found myself to be uninterested in the first 30-45 minutes of the documentary and as Hearts and Minds progressed so did my interest.  The film essentially followed my emotion directly.  The beginning and ending scenes describe it best.  The man discussing the destruction of his house and pig farm then the last scene he is crying out in anguish, so passionate and angry about what has happened to him, his family and his way of life.  Essentially, everything started off as passive and ended with passion and aggression.