Seminar

During this weeks workshop we were given a worksheet to complete pertaining to our documentary, as such we were given this class exercise.

  1. What is the controlling idea?

This portraits driving idea revolves around both the subject’s passion for design and how this is effected by her injury. Kate Kidson-Purry has always loved art and design, but this is difficult to accomplish a university degree in these discipline’s when it hurts to do so. She also discusses her love of art and design, along with her passion for social justice.

  1. How is your portrait film structured?

My portrait film is structured according to the footage acquired and how it relates back to the central point. Originally I tried to make this film follow a strict structure but I found it jumped around and didn’t feel at all natural as I wished this interview to be. Therefore it follows a much more organic structure almost reminiscent of a real life conversation, It starts with what she does, moving on to where she’s come from, discussing her passion before finally revealing her true struggle and resolving the film by turning her disadvantage into a strength.

  1. What do you want your audience to make of the interviewee?

I would like people to view Kate as a quiet hero in her own way. She isn’t saving the world or overcoming cancer but she is still struggling in her own way and doing the best she can, and following her dream.

  1. How is your portrait being narrated?

This portrait is narrated solely by the interviewee as I wish the focus to be only on her and her artwork. For the most part her actual interview will be overlaid with footage mostly stock footage, however, personally I would have preferred to overlay her artwork, but such is the assignment.

  1. What role does found footage play in your portrait?

It is basically a pest, but because I can’t get rid of it, it plays the role of overlay footage, illustrating and reinforcing ideas. It also serves to cover cuts in the footage allowing the interview to flow naturally.

  1. Does your portrait have a dramatic turning point?

It is revealed that Kate severely hurt her hands and has since been struggling with following her passion of becoming an illustrator. This is not emotional for her but it does constitute a major obstacle in the path to achieving her dream.

  1. When does this turning point happen and why?

Towards the end of the piece a turning point occurs. It is here that we find out despite her passion she has quite a big obstacle in her way and how she over comes it. Part of the reason it is placed at the end is because her hardships aren’t what define her, it is simply another thing with which she must contend, and she not only accepts this but makes it into a strength. The other reason is that it is, to her, an intensely personal issue, she doesn’t generally discuss it if it can be helped so in keeping with this “conversational format” it is natural for her to discuss literally anything else first, keeping what is personal close to the vest.

  1. How does your portrait gather and maintain momentum?

In truth this portrait has little momentum, really “move forward.” The reason for this is rather than it being something looking to the future, this portrait seeks only to be a snap shot, concerned with the here and now. Not seeking to change anything, simply existing as she currently is. Therefore, the music is really important the only thing that gains momentum. However, one thing that does maintain a sort of momentum is her conversation about herself. Each time she opens her mouth the audience learns something new, and progressively more personal.

  1. Where will your portraits dramatic tension come from?

This portrait’s dramatic tension arises from the subject matter itself. It comes from her struggle to be the person she wants to be in spite of setbacks.

  1. Does your portrait have a climax and or resolution?

In truth there isn’t really a climax, as this is truly just a portrait of a person. It is not made to be something it isn’t, there is little drama. However, if one is to exist it would be her admission of obstacles and the resolution would therefore be her accepting them, and changing them into a strength.

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