All non-fiction films are authored, but the author – or the authorial attitude – is not always immediately visible. Discuss this proposition with reference to two long- form non-fiction films of your choosing

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All non-fiction films are authored, but the author – or the authorial attitude – is not always immediately visible. Discuss this proposition with reference to two long- form non-fiction films of your choosing

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QUESTION:

All non-fiction films are authored, but the author – or the authorial attitude – is not always immediately visible. Discuss this proposition with reference to two long- form non-fiction films of your choosing. You should compare one film where the author is a visible and/or audible presence with one where the author (or the authorship) is not.

Note: By long- form, the examiners mean an hour slot as a minimum on (broadcast) television; a complete, self-contained interactive piece made for the web, or of course a full-length cinema feature or equivalent.

ESSAY:

Watch at least two non-fiction films or long-form programmes as specified above
Analyse those films in line with either of the titles, paying close attention to the different emphasis in each title.
Write a 3000 word essay exploring and discussing your findings.
You are not required to summarise your chosen films beyond the degree required to aid the reader’s understanding of your argument. You can assume your examiners will know – or will be able to access – your choices.
think about both theoretical and practical responses to the production of non- fiction.
The word counts – 3000 words – include references (Harvard) but do not include your bibliography.
You may use illustrations or screen grabs to assist your account as long as they are properly referenced.

Some of the specific ways in which those class descriptors will be assessed in relation to this exercise are listed below:

Structure and Argument

How well the argument has been conducted

The clarity with which you make your points, and the degree to which your points follow logically to create an overall argument about the films / programmes you are considering.

The degree to which your argument explores, focuses on and develops the implications of the proposition you have chosen.

Knowledge and Understanding
How well the topic has been grasped

Depth: the degree to which your argument situates your specific analysis within larger issues relating to the conveying of meaning and / or the deployment of aesthetic form in non-fiction films or programmes.

The degree to which you identify the relationship between form, and meaning / impact.

Use of Sources

How well sources have been identified and used

Relevance: The degree to which your chosen films or programmes exemplify points of comparison in relation to the proposition you have chosen to explore..

The level of scholarship or academic commentary and / or the comparative examples you deploy to develop your argument.

Style and Presentation

The quality of the writing and editorial care

Quality and clarity of writing; clarity of organisation; correct use of referencing systems; close attention to critical analysis of what happens in your chosen films or programmes as a way of exploring how your chosen proposition.

The chosen programmes CANNOT be any of these films as we have studied them before:

Olympia

Blackfish

Restrepo

The Civil War

Culloden

Exit Through the Gift Shop

The Power of Nightmares

Bowling for Columbine

The Last Waltz

This Is Spinal Tap

Dreams of a Life

Primary

Grey Gardens

The September Issue

The World at War

Night and Fog

Shoah

The Race for the Double Helix (episode of Life Story)

Koyaanisqatsi

Megacities

Nostalgia for the Light

The Spirit of `45

The Great Global Warming Swindle

Into the Abyss

Inside Job

Louis Theroux: The Ultra Zionists

Team America: World Police

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