Analysis 2 – Tyler D

A) Content: Nanook of the North, The Prisoner

1. Nanook of the North is focused primarily on showcasing the traditional lifestyle of the Inuit people.
2. The title cards that explicitly stated what the viewer is looking at. Additionally, it combined wide shots of icy landscapes with loud whirring wind- this  gives the viewer a sense of the naturalistic and harsh lifestyle of the Inuit people. Three standout points in the trailer would have to be the progression of the wellbeing of the dogs.
3. First, the dogs appeared healthy and only in moderate discomfort due to the cold. Later on, they are shown with fur matted with clumps of snow. Finally, they are shown to be lifeless husks. This is very poignant as it presents the harsh reality of tundra living and can go on to emulate what the human inhabitants are dealing with as well.

1. The prisoner focuses on a man who was wrongly accused of planning the assassination of Tony Blair.
2. The trailer showcases home video footage, newsreel clips, animated and drawn images, and high definition images to get its point across.  
3. At 0:51, the freeze frame of our subject with the text “Wrong Man” overtop him is powerful. The second point I focused on was at 1:10 and highlighted the beatings that the prisoner undertook without directly showing it. His words though are powerful enough. Finally, the last point I focused on was at 1:37. This transition is great parallelism between the graphics and the actual footage. The transition is created by utilizing a quick cut with the subject (the prisoner) in the same position and clothing.

B) Structure: Virunga

1. Virguna, can be broken down into three distinct parts. First, the documentary focused on Virunga National Park itself and on its premiere inhabitants, the mountain gorillas. The second part of the documentary centered around the British corporation, SOCO, and their rising influence on the area, which, caused major instability. In the final section, the M23 rebels attacks became closer and closer until they final hit the gorilla sanctuary and the closest major settlement.
2. Section 1 transitioned into section 2 with the introduction of the French journalist, Melanie Gouby. The transition from section 2 to section 3 occurred directly after a covert clip of a conversation that was had with a self-proclaimed “mercenary” that had knowledge about how SOCO was indirectly destabilizing the area.
3. I would say that the documentary is definitely defined by a narrative. The filmmakers seem adamantly against SOCO involvement for oil drilling in the area. However, the M23 rebels were an unforeseen force in this documentary and therefore injected their way into this narrative and ultimately changed the storyline of the piece. Before their arrival, the story was focused on primarily the legal and ethical battle between SOCO and the Congolese people. Afterwards, it became almost solely focused on the rebels and the effect they are having on the local peoples.
4. The story is structured so that first, the viewer establishes a connection with the natural landscape, fauna, and people of The Congo. All the while carefully weaving in shots of the M23 rebels moving closer, ultimately leading the viewers to the end of the piece without abruptly changing the storyline.

C) Cinematic Style:

1. The film utilizes breathtaking shots of wildlife and lush landscapes, hand-held high definition footage, newsreel clips, and hidden cameras to weave a narrative of pro-conservation ideals in an area riddled with violence and instability.
2. The documentary is full of quick cuts. The longest shots tend to be on landscapes, when there is important information on the screen, and during interviews, especially candid ones. The landscapes shots are beautiful and the filmmakers want to showcase the brighter side of The Congo. Shots that have maps or legal documents tend to linger as well as the viewer can read this information for themselves and feel more a part of the documentary and therefore align with it better.
3. The shots follow a fairly linear narrative with most scenes lasting a few minutes each. Transitions between are often short clips of gorillas in the wild as to highlight the importance of the fact that Virunga is the last refuge for wild mountain gorillas in the world. Other wildlife is also featured in these transition clips.

D) Documentarian Stance:

1. The documentarians were very clearly against foreign involvement in the area and more-so calling to attention the issues that arise in Congolese communities due to rebel groups. The hidden camera dinner interview with the mercenary that was employed by SOCO and the direct discouraging of their ways illustrates the mindset of the filmmakers.
2. I would choose “Reporter”, as Melanie Gouby is one of the main actors in the documentary as she has been there since the onset of the conflict. Moreover, the use of newsreel footage indicates that this piece is meant to inform the audience more than anything.
3. It can been considered unethical to film a person or persons without their consent and knowledge. So in that way, yes, the filmmakers were unethical on multiple occasions. Furthermore, during these occasions they also lied to their contacts, further pushing their ethical boundaries. However Andre’s willingness to die for his gorillas is a very touching and highly ethical moment. Furthermore, most times the filmmakers did keep a respectful distance and only itnerfered when the safety of the people being filmed was at risk. This happened during the initial attack of the rebels and the car with the film crew stopped to pick up fleeing civilians.

• Saved: A2