Rough Draft (Introduction)
Forced to become orphans due to the civil war key characters in both films are forcibly joined into the "lost boys" program. The Lost Boys program was created for young males in south Africa who were affected by the civil war in practice to find new life in America. During their five years long journey the Lost Boys overcame fleeing villages, creating close netted connections, sought protection from dangerous diseases, and survived wild animal attacks along with attacks from rebel soldiers. Catastrophic war and destruction usually tears connecting items apart, but in this particular situation it brings our two pivotal films together. Subsequently reaching sanctuary, for a few individuals it was the beginning of a new life. The lost boys of Sudan (2003) and God Grew Tired of Us (2006) are both fantastic films that show how culture and identity play huge roles in how culturally different people perceive one another culture. These films are identified as documentaries; I will classify how the two films cover documentary traditions in pursuit to make an unbiased film. There are two modes identified in the films including a corporatist transnational view also known as (globalization) and adversarial transnational. Using course concepts classify how both films use these two documentary modes. Although these are two different films they simultaneously cover the same topic, I will also explain key similarities and differences.
(The Purpose for making documentary films)
The purpose of creating a documentary is simple; to be educational and informative, to interpret the actuality in front of the camera, the use of non-actors, and involves specific location shootings. The first thing people must understand when watching a documentary that these are not actors but actual people and actual events. In God Grew Tired of Us the main characters are Panther Bior, John Bul Dua, and Daniel Abol Pach. Lost Boys of Sudan main characters include Santino Majok Chuor and Peter Nyarol Dut. To understand the purpose of these films, we must first understand the situation of the Dinka people. The Second Sudanese Civil War lasted from 1983-2005. The war was between its central Sudanese government and the Sudan people personal Liberation Army. Study shows there was about two million Dinka boys orphaned or murdered during this period. The "Lost Boys" program was created to help cushion the severity of the war by saving young boys in South Sudan.
(Corporatist transnational)
Corporatist transnational sometimes called (globalization), films are an essential mode to creating a documentary film. Modes in film study can be defined as a broad, but identification method, or manner, that is not tired exclusively to a particular form or genre. Corporatist transnationalism usually involves universalist commodity fetishism which means to produce by trying to sell their product. It also includes fragments and isolating which frequently involves "nation" with "self". There is also a myth that believes corporatist steals meaning to sell. I believe after watching both films I can identify God Grew Tired of Us as a corporatist film. God Grew Tired of Us is an enchanted film filled with adventure and embraces an uplifting story. I believe this film places a softer credential to the Sudan Civil War, more than it already should. This is the more Hollywood-sanctioned version of the "Lost Boys" compared to my other documentary Lost Boys of Sudan. Produced by National Geographic and directed by Christopher Dillon Quin the spontaneous team created a warm-hearted film, but down played the serious emotions created by the Sudan Civil War. This film idolizes the propaganda tradition in documentary films. I would classify this film propaganda because of the focal expression of viewpoint, with a political regard. Quin did generate an informative film but the comedic side of the film despondently down plays the importance of the “Lost Boys”. God Grew Tired of Us won the Grand Jury Prize and the Audience Award both in 2006. Great camera work with an inspirational goal, this film had all the characteristics of a new exciting type of documentary. This is a rare and new document because it does not leave an excess of cynicism and disgrace in the audience mind. With such great accomplishments the audience is misled into falling for the warm and happy side of the film they fail to realize what is actually taking place in the Dinka culture.
(Adversarial transnational)
(add one more pivotal element) (maybe how traditions and culture divide people)
(Conclusion)
Forced to become orphans due to the civil war key characters in both films are forcibly joined into the "lost boys" program. The Lost Boys program was created for young males in south Africa who were affected by the civil war in practice to find new life in America. During their five years long journey the Lost Boys overcame fleeing villages, creating close netted connections, sought protection from dangerous diseases, and survived wild animal attacks along with attacks from rebel soldiers. Catastrophic war and destruction usually tears connecting items apart, but in this particular situation it brings our two pivotal films together. Subsequently reaching sanctuary, for a few individuals it was the beginning of a new life. The lost boys of Sudan (2003) and God Grew Tired of Us (2006) are both fantastic films that show how culture and identity play huge roles in how culturally different people perceive one another culture. These films are identified as documentaries; I will classify how the two films cover documentary traditions in pursuit to make an unbiased film. There are two modes identified in the films including a corporatist transnational view also known as (globalization) and adversarial transnational. Using course concepts classify how both films use these two documentary modes. Although these are two different films they simultaneously cover the same topic, I will also explain key similarities and differences.
(The Purpose for making documentary films)
The purpose of creating a documentary is simple; to be educational and informative, to interpret the actuality in front of the camera, the use of non-actors, and involves specific location shootings. The first thing people must understand when watching a documentary that these are not actors but actual people and actual events. In God Grew Tired of Us the main characters are Panther Bior, John Bul Dua, and Daniel Abol Pach. Lost Boys of Sudan main characters include Santino Majok Chuor and Peter Nyarol Dut. To understand the purpose of these films, we must first understand the situation of the Dinka people. The Second Sudanese Civil War lasted from 1983-2005. The war was between its central Sudanese government and the Sudan people personal Liberation Army. Study shows there was about two million Dinka boys orphaned or murdered during this period. The "Lost Boys" program was created to help cushion the severity of the war by saving young boys in South Sudan.
(Corporatist transnational)
Corporatist transnational sometimes called (globalization), films are an essential mode to creating a documentary film. Modes in film study can be defined as a broad, but identification method, or manner, that is not tired exclusively to a particular form or genre. Corporatist transnationalism usually involves universalist commodity fetishism which means to produce by trying to sell their product. It also includes fragments and isolating which frequently involves "nation" with "self". There is also a myth that believes corporatist steals meaning to sell. I believe after watching both films I can identify God Grew Tired of Us as a corporatist film. God Grew Tired of Us is an enchanted film filled with adventure and embraces an uplifting story. I believe this film places a softer credential to the Sudan Civil War, more than it already should. This is the more Hollywood-sanctioned version of the "Lost Boys" compared to my other documentary Lost Boys of Sudan. Produced by National Geographic and directed by Christopher Dillon Quin the spontaneous team created a warm-hearted film, but down played the serious emotions created by the Sudan Civil War. This film idolizes the propaganda tradition in documentary films. I would classify this film propaganda because of the focal expression of viewpoint, with a political regard. Quin did generate an informative film but the comedic side of the film despondently down plays the importance of the “Lost Boys”. God Grew Tired of Us won the Grand Jury Prize and the Audience Award both in 2006. Great camera work with an inspirational goal, this film had all the characteristics of a new exciting type of documentary. This is a rare and new document because it does not leave an excess of cynicism and disgrace in the audience mind. With such great accomplishments the audience is misled into falling for the warm and happy side of the film they fail to realize what is actually taking place in the Dinka culture.
(Adversarial transnational)
(add one more pivotal element) (maybe how traditions and culture divide people)
(Conclusion)
You introduced the concepts in a nice way that was clear facts able to be seen in each movie. I think you could even include some of the clips from the documentary that are not typical documentary scenes. Looking forward for the final piece.
ReplyDeleteThis draft is more than extremely rough; it has factual errors. There is no such thing as a "lost boys program." Do not confound a movie's "purpose" with its broader "characteristics." Do not refer to real people as "characters."
ReplyDeleteI strongly encourage you to go to the Writing Center in the English building to help you work on this paper.