The inject Punitive Damage directed by Annie Goldson is a powerful narrative that tells the story of a courageous new man, a mothers quest for truth and justice and the tragedy of the preeminence in East Timor. The beginning of this documentary contains many orotund features that help to introduce the ideas, storylines and atmosphere. Some of these features atomic number 18 the securetrack, visual techniques, tv camera angles and characters. Assisted by executive producer Gaylene Preston, cinematographer Leon Narbey, and sound designer Mike Hopkins, Goldson has produced a complex and powerful film. The film opens with white captions on a black background with the enlarged and dramatic sound of typing which instantly captures the earshots attention. The date, 12th November 1991, atomic number 18 the gainshoot words to appear so we populate right off when this documentary is set. The captions also introduce Max Stahl and the assassinate he has filmed. The typewritin g sound effects fade out and screams, sirens and gunshots be heard which prep be us for the visuals we are about to see. We are then presented with powerful and shocking footage of the 1991 Dili massacre. It is within a in the altogether window and the rest of the screen is black.
This is a strong job with the jerky camera movements and the blackness also suggests death, danger and camp hiding and scared. Because the footage is jerky we know the camera was hand-held which adds legitimacy and reminds the audience that what they are seeing is real. The screen then switches to a photograph of Kamal as there is a voiceov er, ...fears for a raw(a) Zealander caught ! in a massacre.... Although we do not know who Kamal is yet, the voiceover colligate the massacre with the boy in the photograph and also lets the audience know that he is a New Zealander. If you want to frig around a full essay, order it on our website:
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