How the Relation of the Camera to the Real is Problematized in The Thin Blue Line and Yuki Yukite Shingun

How is the real relationship between the camera and the "thin blue line" and "the new cloud that is Yukiyuki" problematic? The documentary can contain various types of discourses on the real world. Credit to nonfiction movies not only from editorial interviews of stereotypes but also recently globally, presents the reality and helps to express their creative vision of the director. It is possible to present the most external meaning in a way that reflects the representation of individual systems and individuals.

Probably the best movie I have seen this month will be a remake of my 10th Thin Blue Line. Since I have incorporated this long and dirty movie reorganization, I have deep emotions on documentaries. And Thin Blue Line is a clear master form. I tried to see the movie of Errol Morris which was updated this month, but Netflix 6 partnered with Wormwood and the Thin Blue Line kept a special place in my mind. There may be very few documentaries managing a clear story of facts made with light blue lines and combining the fast and obvious information of the subject. I also tried other documentaries (The Jinx, Making a Murderer), but the thin blue line is better.

This is Yuki. She is a beautiful pavement special, we used it three or four years ago. Yuki is completely hearing-impaired (Blue-eyed white cat is hearing-impaired.If only one eye is blue, my ears are awkward but it's strange though it's strange depending on the vet anyway) She is against against her Volume There is no adjustment. She is about 8 years old, but she is still like a kitten. This is cute. A more elegant and elegant woman. They all came from the same house but were sent to the shelter when the owner moved. So far, especially Mitsu, they have such unique personality. When we first got her, we had scars every day. This time she will take A to take her tail and run away. It is amazing.

The difference between the two movie versions of "Fine Red Line" can explain the contrast between development and experience, choices and virtual reality. For older movies, usually place the camera closer to the ground or on the surface of the water when soldiers pass through wetlands. However, the camera mainly shoots from the front, and the guy moves toward the audience's eyes. In addition, it particularly seeks dramatic performance of body movements and comprehensive frameworks.

Film Political Rhetoric: Controversy of War Movie Experience John S. Nielsen University of Iowa