Approaches to and principles of documentary film analysis – using the example of Alex Gibney's «Taxi to the Dark Side» (2007)
Abstract
How to analyze a piece of art correctly? The question itself sounds banal, and the answer to it rather simple. However, while teaching classes on cinema analysis over the past 7 years, I have been noticing again and again how difficult this task for students actually is. The following 3 issues appear to be especially hard to deal with: 1) define the essence of the film 2) translate the director’s approach and intention (instead of merely describing the contents) 3) find an algorithm to what we actually need to direct our attention to.
The following article presents the reader with a concrete analysis technique, using Alex Gibney’s documentary “Taxi to the Dark Side” as a teaching example. I have to emphasize that the technique may be applied to any other art form (be it literature, music, theatre plays, to some extent painting and photography) that display the elements essence and structure.
Downloads
References
Aufderheide P. (2008). Documentary Film: A Very Short Introduction,. Oxford: Oxford University Press.
Aumont J., Marie M. (1988). L’Analyse des films/Analysis of Film. Paris: Nathan.
Balazs, B. (20011924). Der Sichtbare Mensch (2001), Frankfrut Am Main: Suhrkamp Verlag.
Bazin A. (1971). What is Cinema? Essays selected and translated by Hugh Gray, Berkeley: University of California Press.
Bordwell D., Thompson K. (1979). Film Art. An Introduction, Boston: Addison-Wesley, Reading Mass.
Casetti, F (1999). Theories of Cinema, 1945–1990, Austin: University of Texas.
Cook M. (2007). Write to TV. Out of Your Head and onto the Screen, Oxford: Burlington.
Deleuze, G. (1996). Das Bewegungs-Bild: Kino 1, Frankfurt am Main: Suhrkamp Verlang.
Duley A. (1984). Concepts in Film Theory, Oxford: Oxford University Press.
Elsaesser T., Hagener M. (2011). Filmtheorie zur Einführung, Hamburg: Junius.
Fawcett L. (1928). Die Welt des Films, Zürich, Leipzig, Wien: Amalthea Verlag.
Krakauer S. (2001). Theorie des Films, Frankfurt am Main: Suhrkamp Verlag.
Mckee R. (1997). Story: Style, Structure, Substance, and the Principles of Screenwriting,. New York: Haprercollins.
Merriam-Webster (1995). Encyclopedia of Literature, Massachusetts: Merriam-Webster.
Nichols B. (2008). Critical Inquiry, Chicago: University of Chicago.
Nichols B. (2001). Introduction to Documentary, Indiana: Bloomington & Indianapolis.
Nichols B. (1991). Representing Reality: Issues and Concepts in Documentary, Indiana: Bloomington University Press.
Ryan M., Lenos M. (2012). An Introduction to Film Analysis: Technique and Meaning in Narrative Film, London: Continuum. https://doi.org/10.5040/9781501351105
Schaaf M. (1980). Theorie und Praxis der Filmanalyse. A. Silbermann, M. Schaaf, G. Adam (Eds.) Filmanalyse: Grundlagen, Methoden, Didaktik, München: Oldenbourg Wissenschaftsverlag: 1980. – C. 35–123.
Sobchack T., Sobchack V. (1980). An Introduction to Film, London: Longman.
Trottier D. (1998). The Screenwriter's Bible", Los Angeles: Silman-James.