The indexical bond
The film semiotician Christian Metz argued that a photo of a revolver isn't just 'a revolver'. It is an ideological statement, literally 'here is a revolver'. The producer has constructed a message, a statement of the importance of the object.
So the process of filming things makes Stories We Tell important. But, is it real?
Is it real?
- The preferred reading of Stories We Tell is to humanise its cast and to bring us together.
- The filmmaker invites the audience to join the film as part of an intricate story. We ultimately possess more knowledge, and are placed in a privileged and intimate position.
- While the themes are confusing and at times off[putting, all audiences can relater to the idea of family
- No, it's not real at all. However, Stories we tell uses a variety of theatrical techniques to construct a quixotic, poetic, and ultimately satisfying deconstruction of the notion of absolute truth, and out inability to reconcile this contraction
- How are micro elements utilised to construct an emotional mode of address for the target audience?
- Target audience: difficult to define! However, clearly targets an educated middle class white audience
- Non-diegetic music is used throughout the documentary. This includes relaxing, indie folk music, but also 'olde time', piano based soundtrack, which connotes a sense of the past, of old technology, established values, and an overriding sense of nostalgia
- Use of grainy Super-8 footage anchors this sense of nostalgia, and connotes warm feelings of emotional involvement