Thursday, 25 October 2018
Tarantino as an Auteur
Employs long takes, minimal editing, mirror shots and humour, all characteristic to most of his films (Kupść, 1989)
Gratuitous use of violence
Cinematography: Crash shots, long takes, tracking shots. car boot POV shots, mirror shots, close ups on lips and feet
Feet
Long, intense dialogue, humorously dramatic violence, and frequently nonlinear scripts
Late 60s early 70s pop music
Actors: Uma Thurman, Samuel L. Jackson, Christopher Waltz, and Michael Madsen
Zeitgeist Definition
Spirit of the times - defining mood or spirit of a period as shown by beliefs and ideas
Course Marks Distribution
Entire course out of 300 marks
First paper - classical Hollywood 1930 - 1990 - Blade Runner and Vertigo - 40 marks + New Hollywood - BOTSW and NCFOM - 40 Marks + British Film - Trainspotting and Shaun of the Dead/Sightseers - 40 marks, total 120 marks
Second paper - Experimental film and narrative - Pulp Fiction - 20 marks + Documentary and technology - 20 marks + Silent cinema - 20 marks + Global Cinema - Pans Labyrinth and City of God - 20 marks, total 80 marks
Course work - 100 marks
First paper - classical Hollywood 1930 - 1990 - Blade Runner and Vertigo - 40 marks + New Hollywood - BOTSW and NCFOM - 40 Marks + British Film - Trainspotting and Shaun of the Dead/Sightseers - 40 marks, total 120 marks
Second paper - Experimental film and narrative - Pulp Fiction - 20 marks + Documentary and technology - 20 marks + Silent cinema - 20 marks + Global Cinema - Pans Labyrinth and City of God - 20 marks, total 80 marks
Course work - 100 marks
Monday, 22 October 2018
In what ways is Pulp Fiction experimental?
Narrative Structure - almost self referential in that the non-linear narrative makes the storyline obvious, break our suspension of disbelief. Realize when Vince is killed.
Doesn't have a clear protagonist - could be suggesting that we don't need one. Doesn't have a meta narrative - a narrative with an overriding theme (often a binary opposition or dominant ideology), which is the only one of Tarantino's film that doesn't
Doesn't have any narrative resolution - no return to equilibrium (possibly Butch riding off but as he's not the protagonist maybe not). It ends on mid-narrative
Genre Conventions - doesn't have the 'rise and fall' narrative of gangsters films, everything stays the same.
Stylized imagery/iconography - gangsters etc. it does have. Mia as the femme fatale is the opposite to the usual - attractive in an unconventional way, wears a shirt instead of a dress, not v. feminine, however she's referred to as the 'big man's wife' and Uma Thurman was chosen over Pam Greer as the latter isn't submissive
Expectations/Casting - John Travolta experimental - usually plays a dancer, sex symbol, massively different to this role. Gang land bosses thought to be white, Italian men. People's ethnicity in the gang doesn't seem to matter. Bruce Willis experimental casting - should be mid-20s but is older, father-daughter relationship with him and Fabienne
Language, representations and 'shock value' - very stylized dialogue, there to sound cool. Talk about normal things in a very stylized way. Controversy with swearing and racism. Gangsters seen as intellectually thoughtful people (Mia talks intelligently, Jules especially), shown as cool and capable, sophisticated, overriding interesting in popular culture. Women seem juvenile (Hunny Bunny, Favian), while Mia seems strong (although juvenile to a certain degree). Black people shown as powerful (Jules seems superior compared to Vince, Marcellus is overall in charge and the catalyst of the plot).
Post-Modernism - self referential, non-linear, controversial, briefcase is a macguffin - could be replaced easily, the case is what we want it to be
Almost designed for repeat viewings as can notice things you wouldn't at first
Repeated mention of Vince taking Mia out at the start is a red heading for a plot around them
Lance represented as a pseudo-businessman, a salesman not a drug dealer, different representation to normal
Jungle Boogie at the opening credits makes us think of a Blacksploitation film, and then shows Jules after to continue this red herring
First time we properly see Marcellus Wallace is when he's run over - not untouchable like most mob bosses in films
Mysteries set out - e.g. Tony Rocky Horror thrown out the window
At Jack Rabbit Slim's, none of the dialogue is important to the plot. but it sets out the relationship between Vince and Mia
Editing - non-linear, also uses title cards to compartmentalize the film, making us know it's a film. Makes us look at the film from the outside, not immerse us
Sound - Dialogue is stylized and doesn't move on the plot. Very little cinematography to back it up, forcing us to focus on the dialogue
Narrative content - unconventional plotting, what we don't need to see. Sowing Vince on the toilet, also hints at violence to come, dialogue that doesn't contribute or move on the plot. Voyeur shots of Jimmy and Wolf talking about the shots to make Wolf look cool. Only realize we're in a non-linear film when Vince gets killed. We think we can anticipate what the film's about - Vince and Mia running off, but it doesn't
Doesn't have a clear protagonist - could be suggesting that we don't need one. Doesn't have a meta narrative - a narrative with an overriding theme (often a binary opposition or dominant ideology), which is the only one of Tarantino's film that doesn't
Doesn't have any narrative resolution - no return to equilibrium (possibly Butch riding off but as he's not the protagonist maybe not). It ends on mid-narrative
Genre Conventions - doesn't have the 'rise and fall' narrative of gangsters films, everything stays the same.
Stylized imagery/iconography - gangsters etc. it does have. Mia as the femme fatale is the opposite to the usual - attractive in an unconventional way, wears a shirt instead of a dress, not v. feminine, however she's referred to as the 'big man's wife' and Uma Thurman was chosen over Pam Greer as the latter isn't submissive
Expectations/Casting - John Travolta experimental - usually plays a dancer, sex symbol, massively different to this role. Gang land bosses thought to be white, Italian men. People's ethnicity in the gang doesn't seem to matter. Bruce Willis experimental casting - should be mid-20s but is older, father-daughter relationship with him and Fabienne
Language, representations and 'shock value' - very stylized dialogue, there to sound cool. Talk about normal things in a very stylized way. Controversy with swearing and racism. Gangsters seen as intellectually thoughtful people (Mia talks intelligently, Jules especially), shown as cool and capable, sophisticated, overriding interesting in popular culture. Women seem juvenile (Hunny Bunny, Favian), while Mia seems strong (although juvenile to a certain degree). Black people shown as powerful (Jules seems superior compared to Vince, Marcellus is overall in charge and the catalyst of the plot).
Post-Modernism - self referential, non-linear, controversial, briefcase is a macguffin - could be replaced easily, the case is what we want it to be
Almost designed for repeat viewings as can notice things you wouldn't at first
Repeated mention of Vince taking Mia out at the start is a red heading for a plot around them
Lance represented as a pseudo-businessman, a salesman not a drug dealer, different representation to normal
Jungle Boogie at the opening credits makes us think of a Blacksploitation film, and then shows Jules after to continue this red herring
First time we properly see Marcellus Wallace is when he's run over - not untouchable like most mob bosses in films
Mysteries set out - e.g. Tony Rocky Horror thrown out the window
At Jack Rabbit Slim's, none of the dialogue is important to the plot. but it sets out the relationship between Vince and Mia
Editing - non-linear, also uses title cards to compartmentalize the film, making us know it's a film. Makes us look at the film from the outside, not immerse us
Sound - Dialogue is stylized and doesn't move on the plot. Very little cinematography to back it up, forcing us to focus on the dialogue
Narrative content - unconventional plotting, what we don't need to see. Sowing Vince on the toilet, also hints at violence to come, dialogue that doesn't contribute or move on the plot. Voyeur shots of Jimmy and Wolf talking about the shots to make Wolf look cool. Only realize we're in a non-linear film when Vince gets killed. We think we can anticipate what the film's about - Vince and Mia running off, but it doesn't
Narrative in Pulp Fiction
Wouldn't work without a non-linear plot, which is often used to make dull films exciting as it gives people something to expect. Parallel editing gives us something to watch all the time to make it interesting.
Loose thread going through it being Marcellus Wallace.
Have elements that other films would skip - conversations about mundane things, Vincent going to the toilet, eating etc. A common trait of Tarantino.
Doesn't have a clear protagonist - could be suggesting that we don't need one. Doesn't have a meta narrative - a narrative with an overriding theme (often a binary opposition or dominant ideology), which is the only one of Tarantino's film that doesn't
Doesn't have any narrative resolution - no return to equilibrium (possibly Butch riding off but as he's not the protagonist maybe not). It ends on mid-narrative
What's important in the film isn't the narrative but the characters
Loose thread going through it being Marcellus Wallace.
Have elements that other films would skip - conversations about mundane things, Vincent going to the toilet, eating etc. A common trait of Tarantino.
Doesn't have a clear protagonist - could be suggesting that we don't need one. Doesn't have a meta narrative - a narrative with an overriding theme (often a binary opposition or dominant ideology), which is the only one of Tarantino's film that doesn't
Doesn't have any narrative resolution - no return to equilibrium (possibly Butch riding off but as he's not the protagonist maybe not). It ends on mid-narrative
What's important in the film isn't the narrative but the characters
Thursday, 18 October 2018
Propp's Character Theory
Analyzed folk tales for their basic plot components
7 character types, not all of them have to be in a film, and one character can perform more than one type:
Hero - leads narrative, usually looking for something, a mystery, does not have to be male. Reacts to 'the donor' and saves 'the princess', often resulting them falling in love
7 character types, not all of them have to be in a film, and one character can perform more than one type:
Hero - leads narrative, usually looking for something, a mystery, does not have to be male. Reacts to 'the donor' and saves 'the princess', often resulting them falling in love
Monday, 15 October 2018
Thursday, 11 October 2018
Experimental Film
Loose Definition: Something that doesn't follow convention, often one of the first films to do something, may come out with a negotiated reading, come out of something different
Pulp Fiction
What makes it experimental?
It's controversy is part of the experimentation, e.g.:
Drugs - no value judgment places on it's use
Rape scene
Language - N word, excessive and white people say it
Swearing - always saying the F word
Narrative - non-linear
No score, all sound track. Mainly use diegetic sound. Primarily 70s, some 60s music
Editing:
Loads of fade outs and fade ups in strange places
Only one parallel edit - Marcel with Samuel Jackson
Cinematography:
Few shot reverse shots, only really when there's an argument with Vince and Samuel Jackson
Hitchcock-like shots, positioning
Motif:
3, 2, 1 before stabbing Mia same with putting the gun down
Vince going to the bathroom heralds problems
Film primarily dialogue, which carries people through it
Post Modernism
The idea that nothing is original any more, everything is a copy of a copy etc.
The theory that Quentin Tarantino is the death of post modernism because Pulp Fiction ultimately has style over substance, which is the peak of post modernism - borrowed ideas
Auteur debate whether he pays homage or steals from other film
A critique of social constructs - hierarchy, family, education, the reason why we exist
I.e. the rise of anti-heroes in the late '60s. None of the characters have heroic traits, similarly to Old Country for Old Men
Self referential/aware - knows it's a film - i.e. lets get into character, square. Always recognizes the fact that it's a film
Breaks down traditional ideas of film making
Lacks cohesive narrative
Sets out to be a cult movie
In modernism, dialogue is used to move the plot forward, in post modernism it's used to build character
Areas of intertextuality in Pulp Fiction:
Vince's car is a reference to Carrie
Referencing famous people - Marilyn Monroe etc.
John Travolta dancing, also shot similarly to Saturday Night Fever
Opening scene almost exactly the same as opening of Bonnie and Clyde
All references Buddy picks up is a reference to a horror film
All songs 1970s soul pop music
The way they speak - exploitation
Style of substance - the Prada Handbag of Tarantino's films
Similarities to Reservoir Dogs
Long, protracted dialogue sequences
Doesn't show expected parts - not much action, diner scenes
Same actors
Controversial language
Voyeuristic shots, two shots, high contrast colour
Long takes
Pulp Fiction more non-linear
Using dialogue for dialogue's sake
-
Pulp definition at start of film relevant to how the film looks and is set out
Context of production - early 1990, shift away from social and political structures, sense of re-evaluating the past, cultural exploration: post modern texts, high/low culture blurring, film as collage etc. Independent/mainstream crossover beginning
High/low culture - ballet and fancy stuff vs TV shows, naff novels, films
Quentin Tarantino is a self confessed film obsessive. His films filled with references to other texts, sometimes seen as plagiaristic
Pulp Fiction
What makes it experimental?
It's controversy is part of the experimentation, e.g.:
Drugs - no value judgment places on it's use
Rape scene
Language - N word, excessive and white people say it
Swearing - always saying the F word
Narrative - non-linear
No score, all sound track. Mainly use diegetic sound. Primarily 70s, some 60s music
Editing:
Loads of fade outs and fade ups in strange places
Only one parallel edit - Marcel with Samuel Jackson
Cinematography:
Few shot reverse shots, only really when there's an argument with Vince and Samuel Jackson
Hitchcock-like shots, positioning
Motif:
3, 2, 1 before stabbing Mia same with putting the gun down
Vince going to the bathroom heralds problems
Film primarily dialogue, which carries people through it
Post Modernism
The idea that nothing is original any more, everything is a copy of a copy etc.
The theory that Quentin Tarantino is the death of post modernism because Pulp Fiction ultimately has style over substance, which is the peak of post modernism - borrowed ideas
Auteur debate whether he pays homage or steals from other film
A critique of social constructs - hierarchy, family, education, the reason why we exist
I.e. the rise of anti-heroes in the late '60s. None of the characters have heroic traits, similarly to Old Country for Old Men
Self referential/aware - knows it's a film - i.e. lets get into character, square. Always recognizes the fact that it's a film
Breaks down traditional ideas of film making
Lacks cohesive narrative
Sets out to be a cult movie
In modernism, dialogue is used to move the plot forward, in post modernism it's used to build character
Areas of intertextuality in Pulp Fiction:
Vince's car is a reference to Carrie
Referencing famous people - Marilyn Monroe etc.
John Travolta dancing, also shot similarly to Saturday Night Fever
Opening scene almost exactly the same as opening of Bonnie and Clyde
All references Buddy picks up is a reference to a horror film
All songs 1970s soul pop music
The way they speak - exploitation
Style of substance - the Prada Handbag of Tarantino's films
Similarities to Reservoir Dogs
Long, protracted dialogue sequences
Doesn't show expected parts - not much action, diner scenes
Same actors
Controversial language
Voyeuristic shots, two shots, high contrast colour
Long takes
Pulp Fiction more non-linear
Using dialogue for dialogue's sake
-
Pulp definition at start of film relevant to how the film looks and is set out
Context of production - early 1990, shift away from social and political structures, sense of re-evaluating the past, cultural exploration: post modern texts, high/low culture blurring, film as collage etc. Independent/mainstream crossover beginning
High/low culture - ballet and fancy stuff vs TV shows, naff novels, films
Quentin Tarantino is a self confessed film obsessive. His films filled with references to other texts, sometimes seen as plagiaristic
Thursday, 4 October 2018
Senna
Made immediately before he made Amy, by Kapadia
Similar to Amy:
All new visual footage
Kapadia has no onscreen presence, verbally and visually, makes it seem like there's no mediation, watching it unfold naturally
Is Kapadia's skill taking controversial figurers and making them appear better - Senna as noble and Amy as a victim
Footage used is far less personal than Amy, get less of a bond with him - know Ayrton Senna the racing driver not him as a person, opposite for Amy
Would Kapadia argue that the documentaries were made like that because that's where the story was - Senna with his controversial career and Amy with her controversial life
Can relate to Amy more than this because we were alive at the time
Could be argued that he's a documentary editor/compiler instead of a creator
John Grierson - documentary is the creative treatment of actuality
Finishes like Amy, return to innocence - starting quote and end quote are the same
Similar to Amy:
All new visual footage
Kapadia has no onscreen presence, verbally and visually, makes it seem like there's no mediation, watching it unfold naturally
Is Kapadia's skill taking controversial figurers and making them appear better - Senna as noble and Amy as a victim
Footage used is far less personal than Amy, get less of a bond with him - know Ayrton Senna the racing driver not him as a person, opposite for Amy
Would Kapadia argue that the documentaries were made like that because that's where the story was - Senna with his controversial career and Amy with her controversial life
Can relate to Amy more than this because we were alive at the time
Could be argued that he's a documentary editor/compiler instead of a creator
John Grierson - documentary is the creative treatment of actuality
Finishes like Amy, return to innocence - starting quote and end quote are the same
2 Ways to Achieve Connecting One Topic Area to Another
Auteur to Cinematography
Narrative to Nihilism
Spectatorship to Ideology
Digital Technology to Documentary Theorists (Moore and Broomfield)
- How different filmmakers use various shots/angles etc. in different ways. Hitchcock's steady, long shots Vs. Scott's quicker, closer ones. There's a relationship between how they use cinematography and what effect/message they want to portray. Hitchcock focuses on voyeurism, thematic part of his auteur theory and relates to cinematography by how he films. Ridley Scott using low key lighting, shooting through smoke or fans etc.
Narrative to Nihilism
- Overarching themes of nihilism in Trainspotting which shape the narrative, contrasted with the optimism of Shaun of the Dead or the light hearted, but still nihilistic, Sight Seers. Characters, structure, colour etc. all impact how nihilism is shown in the narrative. Trainspotting non-linear narrative, shows him in the chase in a negative place, then goes earlier on to show him trying to get better, showing he's already defeated. Choosing normality vs nihilism. E.g. camera angles when on heroin look up, like in gutter.
Spectatorship to Ideology
- How ideology is imprinted on the audience. What the audience can see (restricted or open narrative), how it's shown (cutting away or comedy violence), how showing characters can create sympathy or dismissal of characters (Roy in Blade Runner). Typical ideology in NCFOM that Llewelyn, as a veteran, is invincible, but his dying off screen contradicts this, and goes on to show what he represents as America can also be defeated without drama. Or in BOTSW, is Wink a good father (Marxist ideology) teaching Hushpuppy what she needs to know, or a bad father who doesn't treat her right (dominant ideology), depending on your own ideology effects the spectator.
Digital Technology to Documentary Theorists (Moore and Broomfield)
- Examples of using various sources, i.e. phones, for documentaries (Kapadia) against mainly one camera storytelling (Moore). Contrasting Amy vs The Future is Unwritten with the availability of footage of them when young and how it affects how their youth is shown. Kapadia can use it to place us on Amy's side. The significant thing is not the Kapadia uses the technology, but the difference in which Kapadia seeks to gain an effect from the use of technology. He basically shows a fictional films narrative by creating antagonists, narrative structure etc.
Monday, 1 October 2018
How far have developments in digital technology had an impact on your chosen documentary film?
Download form for research
Mark in red pen
Marked /40
Mobile technology - citizen journalism - availability of phones and other transportable/accessible recording hardware means
Advantage Kapadia takes with digital technology isn't the same advantage Broomfield and Moore uses it. Kapadia and Moore both push an ideology but Broomfield doesn't
In Amy (2015), Asif Kapadia takes advantage of the development in digital technology by accessing home video/personal clips, TV broadcasts and other footage to be able to create his trademark 'True Fiction' narrative structure.
This is perfectly shown by the very beginning of the documentary, as it starts with a home video of Amy Winehouse and her friends, having fun and singing. This short clip sets the audience's expectations for the rest of the film - showing them that this is documentary about the personal life of Amy Winehouse, from before her fame, and also shows Winehouse as a fun person who is immeidiately personable and relatable. It starts to construct a narrative via a connection to the audience by establishing time, place and character, an essential part of story. Another examples of this is the use of previously unseen footage of Winehouse on the way to her first recording session, recorded by her friend and manager at the time Nick Shymansky, which also showed her personality, as well as setting up our understanding with some of her relationships with people. The candid, unprofessional look of the videos is instantly relatable as something we all create and share (especially recently on social media), which helps to create an informal more realistic theme to the videos. So Kapadia uses digital technology to create an emotive story that explains her personality and makes her relatable, which can be seen from the beginning until the end of the film.
Building on my previous point, Kapadia uses the home videos from family and friends (available due to advances in digital technology) to push his ideology/opinion on the subject. Footage showing Winehouse's spiral into drug addiction, self harm, bulimia etc. is shown in almost graphic detail. This gives the audience the idea that she was a victim of fame and people around her; not to be blamed for her death, which is clearly what Kapadia himself believed while contructing the documentary. In addition, editing is also used to reinforce this ideology, with interviews being placed over the top of the emotive home video imagery to create an overall feeling of empathy, especially as the interviews were often from family and friends expressing sadness at the position she was in, and also viewed her as a victim. Kapadia uses footage not available without advancements in digital technology to enforce his own ideology, which effected the film in that it was able to show Kapadia's ideology easily and subtly.
Advancements in digital technology mean that the ability to record video is widespread. As a result, it's easy to find, and as Kapadia has shown use, multiple recordings of an event to show different perspectives. For example, at the famous Belgrade Concert where Winehouse was too intoxicated to perform, multiple sources were used, e.g. videos from the crowd where you can hear people complaining, to official TV footage of the event. This allowed the viewer to get different opinions on the event (ie the complaining in the crowd), which may shape the opinion of the spectator. These perspectives may differ from the dominant ideology of the film and/or society, which gives the documentary more depth and detail than it may first appear. In addition, combining these alternative perspectives with various interviews overlayed on top (as seen in the documentary in this scene, with friend Lauren Gilbert and Winehouse herself) about the event, it serves to create an even more varied view of the sitation, and as a result allows the audience to make up their own mind on it. Advancements in digital technology affected the documentary in that it allowed the filmmaker to show, and let the audience debate between, various perspectives quickly and easily.
In conlusion, advances in digital technology have allowed Asif Kapadia to develop Amy Winehouse's 'character' in the documenatary, making her more relatable and to the audience, while also giving the audience the choice to make up their own decision based on varied sources.
Mark in red pen
Marked /40
Mobile technology - citizen journalism - availability of phones and other transportable/accessible recording hardware means
Advantage Kapadia takes with digital technology isn't the same advantage Broomfield and Moore uses it. Kapadia and Moore both push an ideology but Broomfield doesn't
How Far have developments in digital technology had an impact on your chosen documentary film?
In Amy (2015), Asif Kapadia takes advantage of the development in digital technology by accessing home video/personal clips, TV broadcasts and other footage to be able to create his trademark 'True Fiction' narrative structure.
This is perfectly shown by the very beginning of the documentary, as it starts with a home video of Amy Winehouse and her friends, having fun and singing. This short clip sets the audience's expectations for the rest of the film - showing them that this is documentary about the personal life of Amy Winehouse, from before her fame, and also shows Winehouse as a fun person who is immeidiately personable and relatable. It starts to construct a narrative via a connection to the audience by establishing time, place and character, an essential part of story. Another examples of this is the use of previously unseen footage of Winehouse on the way to her first recording session, recorded by her friend and manager at the time Nick Shymansky, which also showed her personality, as well as setting up our understanding with some of her relationships with people. The candid, unprofessional look of the videos is instantly relatable as something we all create and share (especially recently on social media), which helps to create an informal more realistic theme to the videos. So Kapadia uses digital technology to create an emotive story that explains her personality and makes her relatable, which can be seen from the beginning until the end of the film.
Building on my previous point, Kapadia uses the home videos from family and friends (available due to advances in digital technology) to push his ideology/opinion on the subject. Footage showing Winehouse's spiral into drug addiction, self harm, bulimia etc. is shown in almost graphic detail. This gives the audience the idea that she was a victim of fame and people around her; not to be blamed for her death, which is clearly what Kapadia himself believed while contructing the documentary. In addition, editing is also used to reinforce this ideology, with interviews being placed over the top of the emotive home video imagery to create an overall feeling of empathy, especially as the interviews were often from family and friends expressing sadness at the position she was in, and also viewed her as a victim. Kapadia uses footage not available without advancements in digital technology to enforce his own ideology, which effected the film in that it was able to show Kapadia's ideology easily and subtly.
Advancements in digital technology mean that the ability to record video is widespread. As a result, it's easy to find, and as Kapadia has shown use, multiple recordings of an event to show different perspectives. For example, at the famous Belgrade Concert where Winehouse was too intoxicated to perform, multiple sources were used, e.g. videos from the crowd where you can hear people complaining, to official TV footage of the event. This allowed the viewer to get different opinions on the event (ie the complaining in the crowd), which may shape the opinion of the spectator. These perspectives may differ from the dominant ideology of the film and/or society, which gives the documentary more depth and detail than it may first appear. In addition, combining these alternative perspectives with various interviews overlayed on top (as seen in the documentary in this scene, with friend Lauren Gilbert and Winehouse herself) about the event, it serves to create an even more varied view of the sitation, and as a result allows the audience to make up their own mind on it. Advancements in digital technology affected the documentary in that it allowed the filmmaker to show, and let the audience debate between, various perspectives quickly and easily.
In conlusion, advances in digital technology have allowed Asif Kapadia to develop Amy Winehouse's 'character' in the documenatary, making her more relatable and to the audience, while also giving the audience the choice to make up their own decision based on varied sources.
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