https://drive.google.com/file/d/1blXg_ciI93eIu_6wQHBG16igMVwf3AAR/view?usp=sharing

https://drive.google.com/open?id=1KuHBd2z7O29TSztMcafdzl1Pk4fmGXHy

https://drive.google.com/open?id=16SkkQkzbzSakbN-VJ6TQZ8HnEsLaetwP

From our class this week, I was grappling with the question: how far do we go as documentarians to push our subjects into recalling a memory or an event, knowing that it might be a trigger for them? Shreya mentioned in class about the ethical dilemma of re-asking a subject difficult questions that might trigger them and how we as documentarians  should try our best not to push our subjects to revisit a memory or an event that we initially missed. However, the Lanzmann interview provided a different take on this question. Lanzmann’s interview of Bomba asks him to re-enact the way he cut the hairs of the people being sent into the death chambers. Later, Lanzmann didn’t want to continue with the interview, but Lanzmann pressures him to continue because of the importance Bomba’s testimony serves in providing evidence to an event that others refute existed. So then, the decision to push/pressure our subjects is up to the doucmentarian’s judgement in terms of the purpose it would serve furthering the themes of the documentary.

https://drive.google.com/file/d/188n5vU29aefvqJvaQe-h0zRqi17Epnr2/view?usp=sharing

Nely: Overall, I thought the b-roll footages served well in capturing the story of Center City Thrift. The soundtrack was a nice choice because it wasn’t distracting to focus on the images. I felt as though, it work in conjunction with the images; thus creating a welcoming vibe, which went with the welcoming space of the thrift store. There were great shots of the city and its people. The shots in which there were people using their phones and looking to connect to wifi was very telling of what the film is about. Furthermore, the shot where the mission of the store and what it offers was great because it informs the viewers about the significance of the store. However, I would have liked to see some shots of the inside of the store so that I could see its environment. Some questions to consider about the b-roll footages are: (1) what purpose does the shots of the Art Walk serve in telling the story of Center City Thrift? (2) There was shot of a building that was numbered “626” and there was a cut to a different building numbered “628,” so which building number is the thrift store housed?

Tracey: good footage, likes how it covers allentown and the people. Wish it was more b-roll of the actual store and what else it includes. Sometimes the shots would focus on streets and i was unsure if this was a highlight that this wifi covers more than one central location or what it was supposed to indicate. There were a lot of strong shots indicating that its allentown and shots showing the story is about people and technology (b-roll of people on phones) i found those to be the most helpful in terms of what the story is trying to tell. Not really sure about the role of the mural b roll images and how they tie into the wifi agenda story you all are trying to tell. Overall i think you all have good B-roll. I think if you are able to take more footage inside of the store (because it seems as though it was taken outside through the window) and have an equal b roll footage of the neighborhood of allentown as well as the shop itself, it would be perfect footage for your story.

Ricky: From what I managed to put together, the b- roll is beneficial to the development of the film. I am very interested in seeing how it will turn out and seeing the effects of the thrift store on the Lehigh Valley area. I wonder if the thrift store is popular in the community and what unique things it has inside. Thrift stores hold a great value in the collection of parts of people’s lives. I think it is hard to tell a story with b- roll, however I am confident that you all have the potential to use the b- roll in a way that is efficient to relating the story of the documentary. It would be interesting to see the types of things people sale or donate. I think a few stories of where people got the item that is being donated or how long they had it would be beneficial to highlighting the history and treasures that every thrift store holds.

During the discussion after the viewing of Newtown, Kim shared with us a moment in which Mr. Wheeler, while they were in the car, said out of nowhere to her if she would like to film him going to see his son’s grave. I appreciated the careful concern that Kim had for her subjects in terms of how she allowed them to have the agency in what she wants them to film. Kim mentioned how she captured great footage of the gravesite, but that a couple months later Mrs. Wheeler didn’t want that footage to be in the film; therefore, Kim had to scrap it. She referred to this moment as the “bus stops here,” meaning that the footages that one captures of their subjects must meet the ethical standards so as to do justice to them. This made me think about my group’s documentary and the potential bus stop that we may not cross because of the scenes we’re going to film of children. Will their parents be okay with it? If some parents give us permission to film their child in the art classes at the Banana Art Factory and some don’t, but during filming we happen to capture their child, how do we navigate that? Kim was able to build trust with her subjects because she immersed herself with the families and therefore had opportunities to film disturbing, traumatic, and difficult shots; however, with the time we have to produce our documentary it’s not enough to build a strong relationship and trust, especially with parents of the children.

Morris’s documentary of a man convicted and sentenced to death for a murder he did not commit contained a lot of re-enactment scenes. What was interesting about these re-enactment scenes was that they were built carefully from witnesses’ statements. Furthermore, what is even more interesting is how Morris recreates several versions of the shooting, but does not recreate one in which David Harris shoots the officer. Morris’s decision on this choice, then reveals his skepticism as to whether, Harris committed the crime.

I want to interview a staff member at my college, Afaf Waz. Over the course of my Freshman to now, I became close with Afaf by exchanging stories and joking with each other. The more that I get to know Afaf, whether at the front desk at LSC or at the swipes for Mule Express, the more I find myself relating to her. Her and I are both immigrants living in this country and have to deal with issues that concerns being a foreigner away from home. Through speaking with her, I have learned of the obstacles she’s had to face; such as, a car accident and potential job termination due to lack of proficiency in English. However, these obstacles didn’t deter Afaf from accomplishing her dreams. Her great personality and work ethic allows her to face any type of situations. Furthermore, Afaf’s character is very inviting; thus, she has become a second mom to the students at my school. She talks and provides advice to students who seek her help. Afaf is willing to go out of her way to make sure that the students are well. She shares stories with them and vice versa, which allows her to connect with them on a personal level. Afaf’s presence on campus is one that allows students to escape worries, vent, and laugh. My interview of Afaf will be recorded with her working at her position at my Muhlenberg’s Life Sport Center. I will gather b-roll footage of her working at her other position, which is where she has most interactions with the students.

The messages and advice that Brooke Gladstone was uttering during her talk were very insightful. As I was listening to her, I was applying some of her messages to documentary work. At one point, Brooke mentioned that the human individuality is a fragile thing. Since, the human individuality is fragile, then it is the documentarians’ responsibility to ensure that they don’t destroy or tarnish people’s individuality. Understanding and keeping to the forefront of out minds about the fragility of the human individuality, we can take great care of those who chose to participate in our documentaries. Last week, KJ said that if we, documentarians, are to gain the trust of our subjects that we have to move the camera around and get close our subjects so that they know that we’re present with them. We do have to get close, not just with the camera, but also with our own individuality as well. To add to KJ emphasizing the importance of seeing and understanding others, Brooke discussed the importance of having empathy. She stated, “Eye contact creates empathy.” Not only are we to do justice to those we capture, but we must also empathize with them. If we are to ensure that we pay respect to the human individuality, we have an (deep) understanding about our subjects. By understanding them, we’ll be able to connect with them. Documentarians must make the attempt to “see” their subjects beyond the camera lens. They have to see beyond the surface of the people they film and get acclimated with their distinct individuality.