Documentary Filmaker Analyse (Nick Broomfield and Kim Longinotto)

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Nick Broomfield and Kim Longinotto


Nick Broomfield

A documentary film maker known for his performative mode style as he highlights the synthetic nature of documentaries and there subjectiveness and in turn uses evocation effects and drama to engage the audience. He channels the ability to reveal the true aspects of his interviewees creating an impactful atmosphere that make the audience side with him as the voice of truth as he reveals the nature of those in his documentaries.
Usually follows the life of a celebrity who has either met a cold/tragic end or a monster we the audience can target easily as the "bad guy".
This is shown by him making two documentaries about the tragic lives and ends of Whitney Houseton and Kurt Cobain with his documentaries Whitney: Can I be me (2017) and Kurt and Courtney (1998) and the monsters he documented can be seen in both documentaries on Aileen Wuornos (Aileen Life and Death, 2003 and Aileen Wuornos the selling of a serial killer, 1992)
Overall he tries to find the reasons behind dark events what made our stars and monsters who they are and how did they meet there end, he allows us to sympathise and understand them as we explore there lives hopes and dreams.

Kim Longinotto

Her method of documentary film making as she tries to make them like the experience as possible as she tries to find those the audience could identify and embody as we experience these events unfold she doesn't get involved in the conflict unlike Broomfield and instead of inspiring responses from the audience with camera techniques she takes a backseat as she simply observes events allowing the audience ask questions rather than confirming conclusions. This can best be described as the Observational Mode as she peers into the window of the world as she watches problems related to women around the world due to her auteur experience as a woman and a feminist makes her want to explore and document the suffering they endure and rights of women. This is probably best scene in her documentary on the mutilation of women in Kenya (The Day Ill Never Forget, 2002) as it explores the victim and consequences of a arguable cruel tradition tradition and the culture conflicts that come with it.

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