Freedom Never Dies

        It is pretty evident that when a accounting or teaching is presented, the view from which the point is told may in deed be the ultimate factor by which the story is judged. This concept besides reigns true for docudrama type deals and plays. and granting immunity Never Dies, tercet very opposite type objective films, present their stories in ii very unique and different guidances.

        In Freedom Never Dies the point of view of the film seems to come from that of the author, Ben Greene. Although the documentary is extremely factual in nature, in that location seems to be a tendancy of Greenes to suggest that Harry T. Moore was indeed the first of the first for what after became the civil rights movement. Now, according to many of the dates given around Moores activities, oneness could imply that perhaps Moore was one of the first but, again, this seems to be the restore intent and focus of Greene; to show that Moore was instrumental in do the civil rights movement in the State of Florida.

        To help thoroughly tell the story, Greenes use of audio and telecasting solidified the piece. The panning of photos (and stills), worked perfect. Narration, utilize a Moore- alike voice, with pictures stills of Moore on the screen, brought the slain civil rights activist to life. mishap to do so in this piece could break potenti completelyy weakened the strength of Greens story because the oppertunity for the mantrap to connect with the chief(prenominal) subject wouldnt fork bring out been as likely. The usage of recital with a mans voice, duration showing Moores picture made it seem like the story was existence told to the viewer by Moore himself.

        In legal injury of medication, Greenes choice of music seemed to compliment the story line palpable well. There was, of course , a rime or two that was off a little with the storyline but ov timell, the music worked undecomposed too. Specifically so, the use of what sounded like a basso guitar authenticated the film by giving it the sound of the era in which Moore lived. The bass line from the guitar was smooth; almost showy sounding.

        The stills, graphics, and sots all seemed to go hand in hand reservation the story line of this film even so more effective. For example, when thither was talk in the film of a frozen custard live on being blown up in Central Florida, there was immediate documentation in the form of a report clipping graphic flashed on the screen to reinterate the validity of the fact. Also, throughout most of the film, any time there was a narration done through the voice of Moore, a picture or two of the slain leader was shown thus reinterating his existence.

        Also, take for deterrent example the brief footage of the white womanhood dipping her feet into the pool as the vote counter broke into the story of Florida and its racial and weather climate some(prenominal) being hot in 1951. Although the pool image termination no longer than about 8 seconds, the transition itself working because it eludes to the idea of hot weather. Simple but effective.

        The indite call works for Freedom Never Dies because it flows. It doesnt seem like it flows at the beginning but, as you get into the meat of the piece, the events from early into the film tie into the events later in the film. For example, at the beginning of the piece, there was talk of Moore and how he lived before he left his thin home town and moved to Jacksonville, Fl. Then there was a distinction made between some of the things he had seen different about Jacksonville that he had never seen about his hometown that switched his views on a lot of issues. The switching of some of those views is what actually led to him being who he turned out to be so it was requisite to show the turning points in his legal opinion process.

        The redaction and pickaxe of interviewees likewise worked very well. Take for example the sot of FBI broker Frank Meech. I thought it was acceptedly authentic to have as one of your interviewees, one of the original FBI agents who worked on the case. The editing of the piece, obviously was done well because the editing supports the story line.

         plenteous about Harry T. Moore, The Africans was good but, quite different in style and story structure. Actually the point of view of the documentary kind of went over my head, I guess. Initially I thought it was a documentary about knuckle downry and the links of its affects on blacks today. this might have actually been the point -of-view but I got sidetracked as the story line went into Muslims and oil.

        As for nat sound and video devices, this documentary started on its feet. At the begining, when the girls were standing around singing, I really thought that added to the piece. There was of course some chicane with the camera angles but, it worked! Even the horse and buggy sound as the narrator steered the horse through the street worked because it added that element of this is real to the piece. In addition, the stills of the old man who looked like a slave worked for this piece too because it too added life to the theme. I dont complete if I would have thought to close in on the still as I talked, like the narrator did in this piece but still, I liked it.

        The footage dick inner(a) the Black church really added to the documentary.



The narrator talking while the voice of the preacher and the singing of the choir happening all at once was magnificent. The Bob Marley track lively up yourself should have worked in this documentary but it simply didnt. first-class honours degree of all, the B-roll to the song didnt match. Secondly, while we all know that Bob Marley is Jamaican, the song nor his nationality really supported the theme of this african storyline. I weigh the narrator could have simply chose an african song and gotten an even stronger affect. While the words to the song were useful, it was the artist and his nationality that said to me, hey, was this blackguard sightly trying to use something black in this to dress it work?         The writing style of the narrator was fairly good in terms of how he tried to tell the story. It was quite apparent that there was an awful lot of preparation and entropy gathering done to successfully tell the story the way he did. I thought it was interesting how he contrasted the cosmos of slavery by having two African-American women on a ship on there way back to ring an old slavery landmark. To include that in the documentary took writing savvy. Again, I dont think I would have done that myself.

        Now, the elements of the story and how they were tied in is where I got lost. The initial theme of the story, or so I thought was Africa; from slavery to now, look where weve come. Okay, malign!! There were so many different elements tied into this story that I really dont see how the writer expected the viewer to follow the entire story smoothly. Again, I was following until he started talking about Islam and oil. I think those elements of his documentary could have been left out and the documentary could have still been just as strong.

        The Shot composition and framing of this documentary also work well except, I didnt understand why out of all the interviewees in the documentary, the only one that he shot really close on, in the face, was the older black woman toward the end of the piece. I dont know if it was because she was elderly, and he pauperizationed to make prisoner her intimate side with the children with whom she was interacting or if it just happened that way. It was peculiar though.

         farthest but not least for The Africans, the VOs, and music worked well too. The narrators promissory note was about right for this piece. Whether he came directly on-screen or he chose to talk through a VO, it all seemed to work for him.

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