“ “They [the working class] cannot be represented themselves; they must be represented.” This statement to which much documentary film and video production by those who have been presumed “victims” of the documentary tradition.” When I read this, I thought of Tilikum as a victim right away from the documentary Blackfish. Tilikum the working killer whale, had been misrepresented as a murderer because of his anger from being miss treated and not having a voice to tell his side of the story. Tilikum can not stand up for himself and tell the trainers what he wants. This is when reporters make judgements of him being horrible putting it on the news, in reality he is just rebelling for the horrible life he was forced into, hoping to be freed.
3)How did Dziga Vertov's style of filmmaking mimic or undermine the politics of the Soviet Union in the early 20th century? You can also view this for reference if needed: https://www.youtube.com/watch?v=z97Pa0ICpn8
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He going against the ways of the soviet union using free thinking in his documentaries. Dziga Vertov made documentaries the way he wanted them to be seen through his eyes.
4)How have documentarians addressed identity and new forms of identity in their work? Give a specific example of a film as referenced in the
Braudy, Leo and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings, Fifth Edition. New York: Oxford UP, 1999.
This resulted in him spending the majority of his time in isolation, something orca whales are not used to. They are known for being social, emotional creatures. They spend their whole life in their pods and form very close bonds with each other. SeaWorld’s arrangement of whales is extremely unnatural because they put random, unrelated whales in a small area together. By doing this, they add to these animals’ frustrations of being in captivity. Years passed, and Tilikum became a part of the main show at SeaWorld. One night in 1999, a man snuck into the park, assumably to see the whales up close. He was found the next morning, draped across Tilikum’s back without any clothes. Among many other injuries, his genitals were ripped off and eaten by the massive whale. SeaWorld public relations released the easy story of a mentally unstable man wanting to have a one on one experience with a killer
Blackfish is a documentary based on the story of Tilikum, a performing killer whale that has taken the lives of several people whilst in captivity. This documentary underscores problems within the multi-billion sea-park industry, describes man's relationship to nature, and how little has been learned about these highly intelligent mammals.
Millions of people come from across the world to visit Seaworld every day without thinking about the lives of the animals behind the scenes. Why would they have concerns? From Seaworld’s commercials to the website, they convince the general public that Seaworld is the place to go to see the happy sea animals perform. If Seaworld is such an ecstatic place, what excuse does Tilikum, their greatest well known orca whale, have for the three attacks on trainers? The documentary “Blackfish” was created by the director Gabriela Cowperthwaite because she questioned herself after realizing Tilikum's odd behavior over time in captivity, and if there was any indisputable parts to animal captivity?
The documentary follows an Orca by the name of Tilikum. Tilikum had been involved in three deaths, including a Marine Biologist named Dawn Brancheau, who was killed by Tilikum while performing with him. The film also highlights why keeping whales in captivity is dangerous and also touches on the death of Dawn Brancheau who was faulted for her own death due to her ponytail hanging low.
They succeed in catching Tilikum, a large male orca, along with two other females, and almost immediately, an important question is raised in the viewer’s mind: What gives humanity the right to incarcerate and separate these animals from their natural environment and their families? As the documentary progresses, Tilikum begins to exhibit frustration and aggressive behavior at the amusement park due to the fact that he is being kept in a small underwater storage container when not on display. Eventually, this treatment leads Tilikum to kill his trainer by dragging her to the bottom of the performance tank and forcing her to drown. At this point, another question is presented: Is Tilikum’s aggressive behavior a product of nature, and the nature of orcas as a species, or is it due to his coerced captivity? Over the course of the documentary, a number of killer whales are caught and brought to different aquatic parks where the viewer gets a behind-the-scenes look at what happens to these animals and their families upon imprisonment.
Introduction," from Braudy, Leo and Cohen, Marshall, eds. Film Theory and Criticism 5th. ed. (New York : Oxford University Press,1999)
In the documentary, The Black Atlantic, the narrator explores the beginnings of slavery and the impact slavery had on the new world up to 1800. The black Atlantic is the first episode of a series of films called The African Americans: Many Rivers to Cross with Henry Louis Gates, Jr. in which African American culture is analyzed since slavery up to the election of the first African American president. The purpose of the documentary is to inform viewers of what slavery was like by providing stories of those who lived through slavery. For example, a ten-year-old girl named Priscilla who was taken from Sierra Leone to South Carolina in the mid-18th century. in the documentary, Henry Louis Gates Jr discusses the slave trade after the discovery of America while doing so he incorporates the experiences of certain slaves for example the slaves who arrived at Jamestown, Virginia. Additionally, the narrator talks about the first known African in America, Juan Garrido, who was brought along with Spanish explorers in 1513. The filmmakers reveal the story of another black man, Esteban the moor, who crossed a Texas desert with three other men while taking part in a Spanish expedition. Eventually throughout the documentary the filmmakers discuss and illustrate how slavery transformed from an informal arrangement to a racial system.
At first, the film is happy and the trainers talk about how much they loved working at SeaWorld and working with the animals. As the film goes on, you get to see the tragedies and heartbreak that goes on at these parks. The film talks a lot about the living conditions of the whales. Tilikum gets beat up by the female whales, which does not necessarily happen in the wild. The whales are used to swimming around one hundred miles a day, but in captivity, they are confined to a little swimming pool where they barely have any room to even breathe.
John Crowe, one of the hunters, is interviewed and tells the story of “the worst thing he’s ever done”. He appeals to the appalled emotions of the audience by admitting to the inhumane way they captured the baby whales. He uses an analogy when discussing the capturing, claiming it was like “kidnapping a kid from its mother”, which pulls at the heartstrings of any parent watching the film, establishing a sense of relatability. The film uses juxtaposition by examining how Crowe, a tough looking man, can be brought to tears by this horrific act. Blackfish then moves to discussing the reason behind Tilikum’s outburst by running a montage of news reports ambushing SeaWorld on the inhumane treatment of whales. The use of the rhetorical question “If you were in a bathtub for 25 years don’t you think you’d get a little irritated, aggravated, maybe a little psychotic?”, grabs the audience’s attention by creating a scenario they can understand. These events create an accusing tone that convinces the audience that SeaWorld is the antagonist of the film. Along with accusations from reporters, SeaWorld has fought many lawsuits against OSHA- the Occupational Safety and Health Administration, due to the way SeaWorld treats their animals. A court hearing is held regarding Tilikum’s behaviour due to pulled video footage of Tilikum lunging towards one of the trainers
Blackfish is a 2013 documentary, directed by Gabriela Cowperthwaite, about the captive orca, Tilikum. The documentary chronicles Tilikum’s life in captivity while examining the conditions that SeaWorld’s orcas live under. Cowperthwaite argues that SeaWorld mistreats their Orcas and intentionally misinforms both their employees and the general public. Rhetorical analysis reveals that Cowperthwaite uses emotional appeals and juxtaposition to sway the viewer to her perspective.
Kracauer, Siegfried. “Basic Concepts,” from Theory of Film. In Film Theory and Criticism: Introductory Readings, Seventh Edition, edited by Leo Braudy and Marshall Cohen, 147–58. New York and Oxford: Oxford University Press, 2009.
“Blackfish”, Magnolia Home Entertainment, 2013, Netflix). Brancheau was grabbed by her ponytail and dragged into the pool by Tilikum. This incident happened in the middle of a performance as Brancheau was sitting next to the pool rubbing Tilikum’s nose (“Whale Watch”. Current Events, March 2010, Vol. 109 Issue 20, p7). When Tilikum finally did let her go, it was too late. Experts suspected that Tilikum was very stressed and depressed for many reasons; tourists and trainers believe this is what caused him to be so aggressive. Being in captivity is different than being in the wild, and being in the tank was so miserable that Tilikum would get painful stomach ulcers and bite the sides of the tank, essentially trying to get out, but it caused his teeth to break. Also, Tilikum had many cuts from the other whales biting him. The cuts became so bad that they often became infected (Tocco, Nicole. “Should orcas be set free?”. Scholastic Action). He had nowhere to escape because he was in a confined area. If he had been in the wild, he could of just swam away if a whale was trying to bite him (“Should orcas be kept in captivity?”. Scholastic Scope, Vol. 58 Issue 17, p4). Tilikum had been in a tank for well over 20 years of his life and is worn of the tank he is in. These facts as well could have caused him to attack (“Whale Watch”. Current Events, March 2010, Vol. 109 Issue
However, in stark contrast to The General, other films were being made around the world that did not follow a simple Hollywood structure, but rather were more experimental with what a movie could be. Man With a Movie Camera (1929), a very ahead of its time, utilized a completely different style of filmmaking that resonated strongly with the ideals of the Soviet Union. Thus, Man With a Movie Camera sought out to make the everyday people of the Soviet Union the stars of the film. This idea was completely revolutionary as well, and almost by necessity, introduced a new style of editing to fit the story—or rather the documentation—that director Dziga Vertov was trying to tell.
In the presented essay I will compare the style of work of selected artists in the montage of the film. I will try to point out some general regularities and features of Soviet cinema. At the same time I will try to capture especially what is common in their systems and similar or conversely what differ. For my analysis, I will draw on the feature films of the Soviet avantgarde, namely these are the movies - The Battleship Potemkin (S. Eisenstein, 1925), Mother (V. Pudovkin, 1926) and The Man with a movie camera (D. Vertov, 1929).