Wednesday, January 9, 2008

Journal 2-7 Max Bardowell 1-7-08


Midterm Documentary

Answer to last week’s question: Here are some popular editing software programs used by smaller film production companies. Michael Moore would probable use more advanced software, but I had trouble locating the titles to the software:

I had not realized the varied skills one needed to properly make a documentary until I was required to film one myself. They are extremely diverse and encompass a broad range of training and experiences, from a background in creative writing to a proficiency in film technology. Fortunately, our group dynamics catered to the style of documentary in which we wished to film, that of a serious film that focused on comparing opposing viewpoints on a common topic. The composition of our group enabled us to have a solid breadth of experience in writing, technology, on camera techniques, and editing and composition. Without the oftentimes differing opinions of our group members, I have no doubt that our documentary would have had a very one dimensional feel to it. Having said that, it seemed at times that the editing process could have gone smother if we had only two people in our group, simply due to fact that two people can reach a conclusion much more quickly than four can.

I thoroughly enjoyed the assignment, despite its size and time demands, and it was a break from the predictable monotony of established written exams, even though it required a bit more work. It was a challenge, but it made me that much more proud of its success.


Question: What is the best documentary film or film school in the US?

Thursday, January 3, 2008

Journal 2-6 Max Bardowell 1-3-08

Michael Moore Hates America Answers

1. He uses phantom questioning and splicing of certain interview clips. He uses the “leading interview” tactic to walk interviewee’s toward the right answer. He uses the montage technique.

2. He uses heavy voice over, like Moore, to help the viewer familiarize themselves with the narrator, thus creating predetermined biases that influence the viewer later on. He uses a montage technique, displaying images of his life to achieve the same result.

3. He must decide how to make a compelling an interesting documentary without using the same tactics that Michael Moore has perfected. He must remain unbiased, and impartial, to maintain a certain level of journalistic integrity if he wants to successfully denounce Michael Moore without seeming to be a hypocrite.

4. No, not really. It would be better to say that he shifts the truth. He uses certain editing tricks and viewer biases to create filters that will obscure the truth, thus creating the illusion of a lie, but not an actual lie. It seems to me to be an even more devious way of filmmaking. Slimy.

5. Not unless it protects them from immediate and physical harm. No, it is not ok to lie in the media.

6. She means that by creating a documentary you are taking reality and forcing it through the lens of a camera, which is not conducive to the truth. That lens is also your lens, she implies, and is thus tainted with the inherent biases you posses. I disagree. While a documentary is a creative product, it can be subject to the same journalistic principles that ensure we maintain a free and balanced press. It becomes, therefore, a product of quality reporting, and as close to relating the truth as humanly possible within the format of human expression.

7. When they take unaltered footage or images and edit them to deceive the viewer, for whatever purpose, noble or misguided. That is the line. You cannot alter the truth of your material.

8. She means that we must be conscious of the fact that when we fervently voice a cause, we may soon find ourselves stooping to the levels of our enemies to convey our messages to the masses.

9. It could be the town you grew up in or the town you were born in.

10. It is one of optimism, not despair and sorrow. Wilson presents us with a view of Flit that is hopeful and progressive, unlike Moore’s view which highlights only the negative.

11. That Michel Moore’s cynical view of America’s people and politics is flawed, and America does in fact have a heart: its people.


Monday, December 10, 2007

Journal 2-5 Max Bardowell 12-10-07

The Power of Editing

Answer to last entry’s question:

Since the late 1960s, Flint has suffered from disinvestment, deindustrialization, and depopulation. Initially, this took the form of the "white flight" that afflicted many American towns and cities, but the decline was exacerbated by the 1973 oil crisis and subsequent collapse of the U.S. auto industry. In the 1980s, the rate of deindustrialization accelerated with local GM employment falling from a 1978 high of 80,000 to under 23,000 by the late 1990s. Many factors have been blamed, including Reaganomics, outsourcing and exporting jobs abroad and to non-union facilities, unionization, exorbitant overhead, globalization, and most recently, a dramatic decline in General Motors sales. These rationales are often strictly applied along lines of political orientation, and labor remains the most divisive and polarizing local issue.

The recent decline was highlighted in the film Roger and Me by Michael Moore (the title refers to Roger B. Smith, the CEO of General Motors during the 1980s). Also highlighted in Moore's documentary was the failure of city officials to reverse the trends with entertainment options (e.g. Six Flags' AutoWorld) during the 1980s. Moore, a native of the area, revisited Flint in his later movies, including Bowling for Columbine and Fahrenheit 9/11.

http://en.wikipedia.org/wiki/Flint,_Michigan


While I was working on the documentary due in place of our midterm exam for ethics class, I received a unique lesson on the effects documentary filmmakers have on their subject’s reputations, and how debilitating the films they produce could be for said individuals. It was a lesson I could not have gotten while in the class room, as I had to feel the power of the camera for myself and experience what it is truly like when you control the images of others, especially when there is no moral limit on what you are allowed to do. As I was experimenting with Windows Movie meker and some of its features with the interview footage we had acquired, I began to form the outline for a “test trailer” of sorts, one that would eventually evolve into a full lenth trailer, although our group would later decide against using the clip, for fear of how many of the teachers would react. The trailer begins with this message, contrasted in white lettering over a black screen, “Throughout our time as students we have gotten the same safe, tactful messages when we have asked our teachers about drugs.” From there it cuts to a series of frames where Mr. Doyle comically states those same, iconic messages we have received over the years, in a deep, cartoonish voice, “Drugs are bad. Drinking’s Bad. Smoking’s Bad.” His statements are said nervously, almost in an attempt to diffuse the earlier question, which was one regarding the legalization of marijuana, although the viewer never sees the question, so it seems as if Mr. Doyle is making light of the situation.

The next screen of text shows a new message, again in black and white, “What if we knew the truth?” This implies that the teachers have been misleading us or with withholding information about the drug issue from us as students. The trailer then shows Wil Gould asking Mrs. Mansfield the question, “Have you ever had any personal experiences with the drug?” The trailer then cuts to Mrs. Mansfield doing a reenactment of a time when her brother was high on marijuana. It is accurate, and she displays many of the typical stereotypes that define the traditional image of a “stoner”, including cliché phrases such as “open your mind, man.”, and, “expands your mind.” The way the trailer is cut though implies that Mrs. Mansfield is drawing from her own personal experiences to answer the question, which is unethical, and could have negative repercussions for her as a teacher of high school students.

Although my group prudently decided against using the trailer, it still shows how much power filmmakers have over the images of their subjects. It is a scary thought.


Question: What editing software does Michael Moore use for his films?

Monday, December 3, 2007

Journal 2-4 Max Bardowell 12-3-07















Micheal Moore- Justified?

Answer to last entry’s question:

By the end of 2004, the U.S. government claimed that two-thirds of the top leaders of al-Qaeda from 2001 were in custody (including Ramzi bin al-Shibh, Khalid Sheikh Mohammed, Abu Zubaydah, Saif al Islam el Masry, and Abd al-Rahim al-Nashiri) or dead (including Mohammed Atef). Despite the capture or death of many senior al-Qaeda operatives, the U.S. government continues to warn that the organization is not yet defeated, and battles between U.S. forces and al-Qaeda-related groups continue.

In the meantime, autonomous regional branches of al-Qaeda continue to emerge around the world.

Since the 2003 invasion of Iraq, average yearly incidence of attacks world-wide have increased by 607 percent. 91 percent of foreign policy experts say the world is becoming more dangerous for Americans and the United States, according to a survey conducted by the Center for American Progress and Foreign Policy. 84 percent of those experts believe that the U.S. military is not winning the war on terror, and 92 percent believe that the war is further endangering U.S. security.


While I was unfortunately sick for our previous two class meetings, I was able to watch the first minutes of Fahrenheit 9-11. It seems to be more of Michael Moore’s traditional filmmaking, using every unethical and immoral weapon he has at his disposal to distort the truth behind the narrative of the film. While his films are entertaining and at times very humorous, they leave a signature bad taste in my mouth, as if I have just watched some sort of B rate horror film and I couldn’t properly follow the script. Knowing what I know from this class about the methods he employs has distracted me from hearing the true messages behind his films. In his frenzy to exploit the American public, Moore has vilified his own character, pulling the audience away from his view point, which might not be wrong, if we could only see it in clear, un-muddied English, not through the grainy focus of his camera lens. He might have some good points, if I could only respect him as a documentary filmmaker and as a human being. At first glance it seems he has quite simply taken a noble profession with a history of provoking change and covered it in controversy and criticism. But is there more to his results?

Though his methods are untrustworthy, they have perhaps instilled some change, maybe not in the broader issues that he confronts, maybe not even in the main issues he focuses on, but within an instance of urban decay that is most likely held very deep in Moore's heart. Perhaps there is still some good that can come from Michael Moore? A recent article in The Economist, a British weekly news magazine, sited Michael Moore’s film as a possible prompter of change in the community of Flint, Michigan, as Moore spends a good amount of time profiling Flint’s economic and social problems in his documentary, Bowling For Columbine. The community, which could possibly see an economic turnaround, seems to be improving, due mostly to the dedicated work of a few devoted citizens, but possibly in part due to the publicity gained by the city’s presence in Moore’s film. Hopefully, the city can breathe again.

The article is below.

Question: What is the history of Flint’s economic depression?


Back from the dead

Oct 25th 2007 | From The Economist print edition

CLEVELAND AND FLINT

Glimmers of hope in two of America's industrial cities

FLINT, Buffalo, Dayton, Saginaw—for years these names have read like tombstones in the graveyard of America's rustbelt. But something is changing in Flint, Michigan, the symbol of industrial gloom. Like other rustbelt cities, Flint's population rose on the back of manufacturing (Flint was the birthplace of General Motors). Then came the white exodus to the suburbs and deindustrialisation, with Flint's ruin made famous in a film by Michael Moore. Flint's population is now just more than half what it was in 1960. One-third of its residents are officially poor.

But there are glints of progress, and not just because GM is building a new factory. Construction workers are beginning to transform the downtown area. There is a heated contest for mayor: Dayne Walling, a Flint-born Rhodes scholar brimming with good ideas, is challenging Don Williamson, the incumbent, in November's election. Flint is trying to chart its own course. And it is not alone. A faint spirit of change is wafting through some of the rustbelt's grimmest streets.

Scholars at the Brookings Institution, a Washington, DC, think-tank, argue that America's old industrial cities can indeed rise again. Big cities such as New York and Chicago have experienced a rebirth, thanks in part to fine mayors and a surge of immigration and new business in the 1990s. Most rustbelt cities have had a more modest revival or none at all. But urban optimists insist that the renaissance can spread: cities are the natural centres of the new knowledge economy and will only grow more appealing to young people and ageing baby-boomers, who want amenities near their homes.

Still, there is much work to be done. Key to any revival are basic improvements: a city must be safe, its rubbish collected, its schools adequate. How to make a city viable in the long term is an unresolved question. But a few places are trying to provide answers.

An early task is to address the physical problems. Some 16m people live in America's old industrial cities; they will not stay if their downtowns look abandoned. In Flint a shrinking population and high foreclosure rates (not a new trend in this town) mean you can hardly go a block without seeing a decrepit house. Blighted buildings are like cancerous cells: they spread crime and lower nearby property values, gnawing away at Flint's shrunken tax base. Many cities share this problem. In Youngstown, Ohio, the mayor plans to tear down blighted areas so he can save threatened but still viable neighbourhoods.

A small band in Flint is following a less radical but still imaginative strategy. Dan Kildee, the county treasurer, founded a land bank in 2002 that acquires abandoned buildings through foreclosure, then readies them to be sold and returned to the tax rolls. The bank, which won Harvard's innovation award in September, claims to have increased property values by more than $112m so far.

Also in Flint are LISC, part of a national non-profit group that channels grants and loans toward community work, and Uptown Developments, which is using so-called “baklava financing”—layers of private investment, loans, grants, federal and state tax credits—to build residential lofts as well as retail and office space downtown. Together, these groups are trying to make Flint liveable, a city that might lure a start-up or retain its students after graduation. Mr Williamson has helped by repaving hundreds of miles of roads. Mr Walling, if elected, plans to harness this work under a broader plan for downtown, its surrounding neighbourhoods, three local colleges and medical centres.

The physical task is serious enough. Addressing the rustbelt's structural economic problems is a much thornier question. Cleveland is slowly experiencing the physical renaissance sought in Flint, with new museums, a university building designed by Frank Gehry, a plan to reclaim the lakefront and another to improve transport between downtown and a hub of universities and hospitals. But to tackle its larger economic woes, the city is tying its fate to the rest of north-east Ohio.

Making use of the hinterland

A more regional approach can benefit not only inner cities, but their surroundings as well. For decades cities and suburbs have competed for jobs, residents and state and federal aid to ill effect. To change this, the Fund for Economic Future, an alliance of foundations in north-east Ohio, worked with civic and business leaders from 16 counties to launch a regional scheme in March. The plan includes supporting companies that build on local strengths, such as Cleveland's universities and medical centres (the Cleveland Clinic is America's leading hospital for cardiac care), and improving workforce training for high-tech manufacturing, health care and other understaffed sectors.

The Fund is also exploring ways for the region's various governments (754 in all) to share revenue and rationalise services. Tax-sharing schemes have helped other struggling cities, including Dayton, Ohio and Rochester, New York. Cleveland and some surrounding towns have already agreed to split taxes from businesses that move within the area; in exchange, Cleveland is providing water services.

These schemes to revive Flint, Cleveland and cities like them are making progress, but it is slow and uneven. Improvements in Cleveland in the 1990s were then threatened by recession, and the subprime crisis has not helped. Jennifer Vey of Brookings argues that local efforts could be bolstered by state support, which has been meagre. She points to Pennsylvania as a state with a strong urban agenda—Pennsylvania has the advantage of a governor, Ed Rendell, who was mayor of Philadelphia.

Even the most avid urban optimist does not expect these cities, having declined for decades, to recover overnight. Flint's home prices dropped by a startling 21% so far this year. On a recent afternoon in Cleveland, a “Believe in Cleveland” banner was matched by a nearby beggar with a sign that just read “Hungry”. But there are hints of progress where there was none. William McMickens, a cab driver and son of a factory worker in Cleveland, pointed to construction along Euclid Avenue: “When this is done, the whole city is going to change.” In these cities, long left for dead, a hard hat is a sign of hope.


Saturday, November 24, 2007

Journal 2-3 Max Bardowell 11-24-07

Al Qaeda- A New Enemy

Answer to last entry’s question: I could not find a full biography of Stephen Greenstreet, the Director of This Divided Sate, but I did discover that he has directed two documentaries in addition to This Divided State and he has been involved in the production of over a dozen other documentaries.


Al Qaeda, the Base, the sum of American fears. They are a new form of enemy, one which does not have a traditional form of organization which we are used to combating, but is fluid, and adaptive, and draws it resources directly from the people themselves. Because it is fueled by the passions and movements of the people, it is lasting and hard to eliminate and track. That is why Al Qaeda is scary, because they cannot be seen. Yes, they have leadership and front-men, but their attacks and soldiers remain unpredictable and invisible. How do we fight them?

First we must understand them. It is a difficult task, as they are a people very different both in religion, politics, and culture, but we must first know our enemy before we are able to defeat them or, if possible, reconcile our differences and achieve a lasting peace. It is a challenge that has been compared to Martin Luther King’s uniting of the Black and White people of America during the civil rights movement in the 1960’s, for how do you convince someone that is ready to kill you for your beliefs not only to listen to you, but to see you first as a human, and second as an American or a Christian. We have a long and rough road ahead of us, and our fates will be decided not by our strength of arms but by our willingness to listen and our ability to hope.


Question: What is the current state of Al Qaeda?

Monday, November 19, 2007

Journal 2-2 Max Bardowell 11-19-07

This Divided State

Answer to last entry’s question: The Student Press Law Center, the American Civil Liberties Union, and the First Amendment Center all have valuable resources that students can use if they fear they have been victimized by censorship.


To put it lightly, I was very troubled by what I saw in the documentary in this Divided State. When the petty political divisions of our nation spill over into a collegiate arena, and threaten one of the most treasured freedoms in our nation, it is certainly cause for alarm no matter to who you owe your political allegiances. To compare the situation surrounding the Utah Valley State College speakers to a media blackout in a totalitarian regime is not far fetched, and this fact alone is disturbing. By silencing the views of others we deny knowledge to ourselves, hindering our development, not only as individuals, but as a nation as a whole. It is a gross manipulation of our constitutional rights and cannot be allowed, lest we be included among the less developed countries of the world.

It was ironic that a citizen’s rights to free speech would be challenged within a community of higher education, an institution founded upon the principles of freedom of expression and the communication of ideas. It is also ironic that those who denounced Michael Moore’s right to talk on religious grounds, did so while under the protection of the first amendment. They acted against the very law that gave them the ability to do so. Such half hearted hypocrisy, betrays their true ignorance of America’s founding ideologies. Forgive my harsh words, but this is one issue that truly makes me angry.

Question: Who produced and directed This Divided State? What is their educational and political background?

Tuesday, November 13, 2007

Journal 2-1 Max Bardowell 11-13-07

The First Amendment

Answer to last entry’s question: the act of moving forward (as toward a goal)

The issue of 1st amendment rights has laced American history from the most potent civil rights movement to the most petty office strike. Free speech saturates the American ideal, freedom of expression is as essential to our way of life as every blinking traffic light. Still these rights are questioned and challenged yearly, and, when the press is concerned, the very functionality of our democracy is confronted, and we must decide between censorship and truth.

Recently at the NSPA conference in Philadelphia, I was able to attend several sessions that discussed the nature of debates surrounding 1st amendment issues, and one in particular stood out. In 2002, 18-year-old Joseph Frederick was suspended from the high school where he was a senior after he displayed a banner reading "BONG HiTS 4 JESUS" across the street from the school in Juneau, Alaska, during the Winter Olympics torch relay. This event evolved into the case of Morse v. Frederick, in which the Supreme Court of the United States held that a school principal may, consistent with the First Amendment, restrict student speech at a school event when that speech is reasonably viewed as promoting illegal drug use. As Frederick was at a school sanctioned event, and his sign was clearly a reference to illegal drugs, the schools decision was viewed as justified.

The decision did somewhat limit my rights as a student journalist, however, unless I am planning to promote the use of illegal drugs, I can see no instance where this event can be sued to censor my writing. Fortunately, the staff at James River is very open about the student publications, and the Principle has a strictly hands off policy when it come to prior review. That is an uncommon luxury, and our newspaper has no problem in taking full advantage of that fact.

Question: What resources are available to support students victimized by censorship?