Saturday, April 13, 2013

"Who Killed The Electric Car", Chris Paine (Documentary) Q: How do documentary filmmakers construct documentaries to position the viewer to respond in a particular way?

The recently released infotainment, Who Killed The Electric Car, from the award-winning director, Chris Paine, looks into the debatable topic of who ca calld the shoemakers remnant of the revolutionary idea of the electric political machine in the 1990s. The documentary presents a one sided view, and through the use of persuasive conventions, convinces the auditory modality that the car companies are to blame and it was only them who hammered the last nail into the coffin of the electric car?s pictorial forthcoming. This desirable affect was achieved through the use of techniques much(prenominal) as accelerated motion, different angled photographic camera shots, selected music and the use of pause. The documentary was constructed to allow the least amount of response from the opponent of the film, the motor companies, that ironically originally introduced and produced the electric cars. These techniques and other such conventions contributed to the overly bias and persuasive view demonstrated to the think audience.

The documentary used a series of different camera angles, speeds and movements to enhance the scene and exaggerate certain details. These conventions were effective in showing the viewer that the electric car was not slow, it looked good, and it was the future; just with the use of camera shots.

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During the introduction of the EV1 electric car, the audience was exposed to the car through the use of accelerated motion, which make the car look faster and a shot when the car was driving towards the camera. These effects were effective and showed the sleek body of the EV1 in much more detail than in a tranquillise shot or a basic panning effect. Throughout the film, the EV1 was fancy mostly with low to medium panning shots; this was particularly effective in giving the impression that the EV1 just keeps on going without a recharge, meaning more...

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