Title works as establishing who she is via montage
Foreshadowing - ''I don't think I could handle it [fame]'
Music is used to highlight the point being made - song about dad not being there after talking about it, which shows how close her music was to herself - 'she had one of the most pure relationships to music' (Sam Beste, her piano player)
Interview about being hounded by press, says she's not up for it, foreshadowing
As soon as she turns to drugs, the music stops, voices are focused on to show how serious it is, less in touch with music
Cuts to flashing cameras every now and then to remind us that she never got a break
Only song Kapadia plays all the way through is 'Love is a Losing Game' to highlight Blake's villainy
Puts traditional media onto new media, layering
Snapshots shows that it's similar to crime and espionage - not right
Still shots taken at home the most powerful - drug use, very personal images
End footage shows her being happy and innocent - juveniles her
Doesn't show her cheating or any detail about it, skips her wrong doings
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Nicholls' Modes of Documentary
Kapadia: Reflexive, poetic and expository Moore: Participatory, aspects of performative (Grierson - documentary is the creative interpre...
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Everyone's morally reprehensible - taxi driver ditching Rent Boy, Diane blackmailing Renton into a relationship Sticks to the dominant ...
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Deckard Trenchcoat - Typical sleuth so used to violent confrontation and so we're fine with him killing . Gives belief in intellectua...
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Directed by Ben Wheatley Jump cuts J Cuts How would we apply feminism to this? Research: Male Gaze Interesting juxtaposition between...
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