Depiction of Religions in Oscar - Winning

DEPICTION OF RELIGIONS IN OSCAR-
WINNING AND OSCAR-NOMINATED

DOCUMENTARY FILMS 1997-2006
ABIDA ASHRAF
INSTITUTE OF COMMUNICATION STUDIES

UNIVERSITY OF THE PUNJAB,
LAHORE, PAKISTAN
2010
DEPICTION OF RELIGIONS IN OSCAR-
WINNING AND OSCAR-NOMINATED
DOCUMENTARY FILMS 1997-2006
A THESIS SUBMITTED TO
THE UNIVERSITY OF THE PUNJAB
IN PARTIAL FULFILMENT OF THE REQUIREMENTS
FOR THE DEGREE OF
DOCTORAL OF PHILOSOPHY IN COMMUNICATION STUDIES
BY
ABIDA ASHRAF
SUPERVISED BY
DR MUGHEES UDIN SHEIKH
INSTITUTE OF COMMUNICATION STUDIES
UNIVERSITY OF THE PUNJAB,
LAHORE, PAKISTAN
August, 2010
i
DECLARATION
I, Ms. Abida Ashraf D/o Ch. Mohammad Ashraf, W/o Rana Eijaz Ahmed hereby
declare that the matter printed in this thesis is my original work. To the best of my
knowledge, this thesis does not contain any material that has been submitted for the
award of any other degree in any other university, neither does this thesis contain any
material published or written previously by any other person, except in the text for
which due references are given.
Abida Ashraf
ii
CERTIFICATE OF APPROVAL
This is to certify that the research work described in this thesis sounds to be original
work of the author and has been carried out under my direct supervision. I have
personally gone through all the data, results, and materials reported in the manuscript
and certify their authenticity. I am of the opinion that the material included in this
thesis has not been used in part or full in any thesis already submitted or in the
process of submission in partial/complete fulfilment of the award of any other degree
from any other institution. I also certify that the thesis has been prepared under my
supervision according to the prescribed format and I recommend the dissertation for
the award of Ph.D. degree through the official procedures of the University.
Prof. Dr. Mughees-uddin Sheikh
Dissertation Supervisor
iii
To Rana Eijaz Ahmed

iv
ACKNOWLEDGEMENTS
It is all due to the blessings of Allah Almighty that I submitted this research.
He kept me capable enough to bear all strains in this long and tedious process. I
would like to express my heartfelt gratitude to my supervisor Dr. Mughees Uddin
Sheikh, for his intellectual contribution, support and constructive feedback for the
completion of this research work. He is indeed a rare intellect in the scholarship of
communication studies in Pakistan and I am lucky to work under his supervision. He
suggested me to visit Norway for a better understanding of film studies and
channelized the available resources. I am highly indebted for this advice. During my
stay in Norway, I tried to utilize all the resources to explore new dimensions in the
tradition of realism. Faculty at Oslo University College and Oslo University extended
their full support and cooperation. My thanks are due to the entire faculty.
I am thankful to Dr. Ahsan Akhtar Naz, who facilitated me to participate in
international conferences where I found an opportunity to discuss my research with
international scholars. I would like to appreciate Mr. Mohammad Obaidullah, who
helped me to analyze data through SPSS, and applied statistics to interpret results. I
can not thank enough Dr. Bushra Hameed for her discussions and suggestions. Dr.
Nosheena helped me with the formatting issues. My friends, Shazia Saeed and
Sumeera Batool also contributed in the discussions to address research problems. ICS
library facilitated me with the latest books, research journals and articles that helped
v
me to resolve many problems. My thanks are due to Mr. Nadeem and Mr. Jameel.
There was a team of my students who helped me in data collection and coding.
I am highly indebted to my parents for their prayers, help and support in every walk
of life that enabled me to furnish this research. I am grateful to my brother, Hayat
Ashraf, who always stood with me to resolve IT problems and recovered damaged
data. Very special thanks to my beloved husband and friend, Rana Eijaz Ahmed for
his support and encouragement to take this initiative.
All errors and omissions in this dissertation are mine and I am solely responsible for
them.
(Abida Ashraf)
vi
Table of Contents
Declaration i
Certificate of Approval ii
Dedication iii
Acknowledgements iv
List of Tables vi
List of Figures vii
List of Abbreviations ix
Abstract x
Chapter 1: Introduction 1
1.1 Introduction of the Topic 1
1.2 Objectives of the Study 5
1.3 Rationale for Documentaries, Religions and Time Period 5
1.4 Need & Importance of the Research 6
1.5 Pre and Post 9/11 Scenario 9
Chapter 2: Background 14
2.1 Historical Background: Documentary Film Genre 14
2.2 Documentary Film Traditions: A Historical Perspective 19
2.3 Documentary Film Modes 24
2.4 History of Documentary Film in the subcontinent 27
2.5 Documentary Film Genre in Pakistan 37
2.6 Academy of Motion Picture Arts and Sciences 38
2.7 Religions Appeared in the Documentaries: An Overview 41

Chapter 3: Literature Review 50
3.1 Religions and Media 53
3.2 Depiction of Judaism, Christianity & Islam in Films 60
Chapter 4: Theoretical Framework 74
4.1 Theory of Framing 74
Chapter 5: Methodology 78
5.1 Introduction 78
5.2 Framing of Religions: A Quantitative Analysis 79
5.2.1 Research Questions and Hypotheses 80
5.2.2 Universe 82
5.2.3 Sampling 82
5.2.4 Unit of Study 84
5.2.5 Unit of Analysis 85
5.2.6 Categories and Coding Scheme 85
5.2.7 A Qualitative Analysis of Religion-related Discourses 88
Chapter 6: Data and Analysis 95
6.1 Quantitative Data & Tabulation 95
6.2 Qualitative Analyses of Documentaries 112
6.2.1 Narrative Structures, Scene-setting and Modes 112
6.2.1.1 Jesus Camp 114
6.2.1.2 My Country, My Country 129
6.2.1.3 Iraq in Fragments 140
6.2.1.4 Deliver Us from Evil 152
6.2.1.5 Darwin‘s Nightmare 171
6.2.1.6 Twist of Faith 181

6.2.1.7 Prisoners of Paradise 194
6.2.1.8 Promises 207
6.2.1.9 Into the Arms of Strangers 227
6.2.1.10 One Day in September 241
6.2.1.11 The Last Days 256
6.2.1.12 The Long Way Home 272
6.2.1.13 Waco: The Rules of Engagement 286
Chapter 7: Conclusion & Recommendations 303
References 311
Appendices 329
Annexure I 329
Annexure II 333
Annexure III 334
Annexure IV 335
Annexure V 336
Annexure VI 337
Index 338
vi
List of Tables
Table 6.1 Prominence given to Jews, Christians and Muslims 96
in Oscar documentary films.
Table 6.2 Prominence given to Jews, Christians and Muslims: 103
pre and post 9/11 scenario.
Table 6.3 Non-practicing followers of the religions depicted 106
with pro-social behaviors.
Table 6.4 Male followers of the religions depicted with 91
pro-social behaviors
Table 6.5 Level of interference of the filmmaker for the depiction 111
of Jews, Christians and Muslims

vii
List of Figures
Figure 6.1 Average scores and comparison of practicing and 97
non-practicing followers of religions for on-screen time.
non-practicing followers of religions for dialogue time
non-practicing followers of religions for dialogues
non-practicing followers of religions for shot type
Figure 6.5 Average scores and comparison of Prominence given 105
to non-practicing followers before and after 9/11
Figure 6.6 Average scores and comparison of pro-social and 107
Anti-social behaviors of practicing followers
Figure 6.7 Average scores and comparison of gender and 109
followers of the religions with pro-social behaviors.
Figure 6.8 Interference levels of filmmakers in the film 127
‗Jesus Camp‘
Figure 6.9 Interference levels of filmmaker in the film 139
‗My Country, My Country‘
‗Iraq in Fragments‘
‗Deliver us from Evil‘

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ix
‗Darwin‘s Nightmare‘
‗Twist of Faith‘
‗Prisoners of Paradise‘
‗Promises‘
‗Into the Arms of Strangers: Stories of Kindertransport‘
‗One Day in September‘
‗The Last Days‘
‗The Long Way Home‘
‗Waco: The Rules of Engagement‘

x
List of Abbreviations
A&E Arts and Entertainment Network (Cable television system)

AFA Art Films of Asia
AMPAS Academy of Motion Picture Arts and Sciences
AOL America Online
ARCIC Anglican Roman Catholic International Commission
ATF Bureau of Alcohol, Tobacco, Firearms & Explosives
BATF Bureau of Alcohol, Tobacco and Firearms
CAIR Council on American-Islamic Relations
CDA Critical Discourse Analysis
CFSI Children‘s Film Society of India
CS Gas Counterinsurgency Gas
DC Direct Cinema
DFF Directorate of Film Festivals
DPs Displaced Persons
DVD Digital Video Disk
DUI Documentary Unit of India
ETPC Ecole Technique de Photographie et de Cinematographie
FAB Film Advisory Board
FBI Federal Bureau of Investigation
FFC Film Finance Corporation
FLIR Forward Looking Infra Red
HBO Home Box Office
IFI Information Films of India
imdb Internet Movie Database
IMPEC Indian Motion Picture Export Corporation
INP Indian News Parade
IUCN International Ecological Congress
MIFF Mumbai International Films Festival
MTV Music Television
NATO North Atlantic Treaty Organization
ND sound Non-diegetic sound
NFAI National Film Archive of India
NFDC National Film Development Corporation
NCFCYP National Centre of Films for Children and Young People
SS Schutzstaffel
TBS Turner Broadcasting Systems
TH Talking Head
UNESCO United Nations Education, Scientific and Cultural Organization
UNHCR United Nations High Commission for Refugees
UNSCOP United Nations Special Committee on Palestine
x
ABSTRACT
The study explores the trends of secularization through the depiction of
religions in Oscar-winning and Oscar-nominated documentary films for a period of
ten years starting from 1997 to 2006. In a total of fifty films, a sample of thirteen is
analyzed for qualitative and quantitative analysis at two levels. The first level
addresses the patterns of prominence for different religions and further chalks out the
patterns of image associations of the followers of religions for positive and/or
negative behaviors. Image associations on the basis of gender are also studied.
Patterns of prominence and image associations are analyzed for pre and post 9/11
scenario. The second level deals with the degree of manipulations and interference
through application of modes, non-diegetic sound, dialogues, juxtaposing,
sequencing, chapter titles, archive footage and video clippings applied by the
filmmaker. The study rests upon content analysis (Weber, 1990; Rose, 2003; Riffe,
et.al. 2005) and discourse analysis (Fairclough, 1989, 1992, 1995a, 1995b, 2003;
Dijk, 1991). The theoretical perspective incorporated to interpret the results is; theory
of ‗framing‘ by Gamson and Modigliani (1989), and Scheufele (1997). The findings
show that Christians and Muslims are encouraged for secularization.

1
CHAPTER 1
Introduction
This chapter consists of three parts; introduction, need and importance of the
research, and pre and post 9/11 scenario. Part one introduces the topic in detail by
explaining the relationship among variables. Part two focuses on the significance of
this study and highlights the objectives of research. Part three discusses the prevailing
discourses about religions. The discourses are elucidated with reference to 9/11.
1.1 Introduction of the Topic
Religion is a universal phenomenon. Wherever people live there is some form
of religion and religious practice that need clarification and interpretation. ‗Defining
Religion‘ suggests that religion can be seen as a theological, philosophical,
anthropological, sociological, and psychological phenomenon (Jones, 2007). To
limitreligion to only one of these categories is to miss its multifaceted nature and lose
out on the complete definition. A religion can be analyzed in at least two ways;
theological basis or religion‘s tenants based on the doctrines within a worldview, and
practices of the believers or ritual action. As a theological definition, religion has to
do with the beliefs of people to find the meaning of life from within themselves or
from outside, spiritually, intellectually, morally and/or ethically. The praxis of
religion deals with the actions, patterns, and practices that are exhibited as a result of
individual beliefs. In this way, religion becomes the most powerful force in many
people‘s lives and they find no more decisive element in life than religion.
Human communication was very simple in ancient times as people used to live
in mountains and had a very simple life. There communication was very simple which
2
could be explained in terms of a sender who transmitted a specific message, spoken or
written, received by an individual (DeFleur & Dennis, 1992). As the societies
developed, information and communication systems became more complex and
dynamic. Technology facilitated the communication phenomenon and mass media
emerged as pervasive and encompassing tools. However, information in the modern
world is characterized by basic imbalances, reflecting the general imbalance that
affects the international community in all the spheres; political, technical, legal,
economic (Masmoudi, 1979, p. 172).
Digital media are influencing the patterns of knowledge production and
consumption (VanAntwerpen, 2010). The new media is providing virtual places for
public interactions, blurring the boundaries of public and private spheres, as well as
invalidating time and space boundaries. This scenario is also altering academic and
public discussions of religion. Therefore it seems necessary to study what the newer
forms stand to offer and what challenges they pose.
It is assumed that film, unlike written language, offers us the possibility of a
direct and unmediated recording of reality. According to Monaco (2000) the
economics of film determines its infrastructure and the politics of film determines its
structure. Film has the power to mimic reality and to change it. In a realist tradition, a
filmmaker tries to decrease the gap between the viewer and the subject through
esthetic decisions which are essentially political. He contends, ―every film, no matter
how minor it may seem, exhibits a political nature on one or more of these three
levels; ontologically, because the medium of film itself tends to deconstruct the
traditional values of the culture; mimetically, because any film either reflects reality
or recreats it (and its politics); inherently, because the intense communicative nature
3
of film gives the relationship between film and observer a natural political dimension‖
(p. 263).
Documentary film is taken to be a journalistic work. Documentary belongs to
realist tradition that is less explored as compared to formalist tradition.Accordign to
Gunning (2008), ―non-fiction filmmaking remains one of the other major lacunae of
film studies. Non-fiction cinema encompasses nearly all formats (feature-length
documentaries, short-format newsreels and travelogues exhibited commercially,
instructional and industrial films shown outside commercial cinema, the variety of
education films designed for schools and universities, films used in scientific and
sociological research- even the home movie and certain experimental films‖ (p. 198).
In this context, this study is a contribution in the domain of non-fiction films.
Particularly feature-length documentaries are analyzed for depicting religions.
Religion is an essential strand of societal fabric that consciously or
unconsciously permeates into the documentary films. The treatment of religion is
sometimes subtle and sometimes obvious. British film director and producer Alfred
Hitchcock‘s saying about documentary film is posted on Berkeley library media
resource center‘s web page. He writes, ―In feature films the director is God; in
documentary films God is the director.‖1
Paradoxically, the selection processes suggest that documentary filmmaker has
more authority, freedom and control on the subject. As compared to John Grierson‘s
quote on the above mentioned source, he says, ―I look on cinema as a pulpit, and use
it as a propagandist.‖ He further maintains, ―In documentary we deal with the actual,
and in one sense with the real. But the really real, if I may use that phrase, is
1
Hitchcock, A. (n.d.). Quotes About Documentary Film and Filmmaking. Retrieved May 07, 2012,
from http://www.lib.berkeley.edu/MRC/reellife/quotes.html
4
something deeper than that. The only reality which counts in the end is the
interpretation which is profound.‖2
There are two paradoxics that control the politics of film; one belongs to
production end and the other one belongs to consumption end. Form and content that
belongs to production; former is revolutionary and later is conservative of traditional
values. Second paradox addresses ‗the politics of film and the politics of real life.‘
Both are so closely intertwined that it appears ‗generally impossible to determine
which is the cause and which is the effect‘ (Monaco, 2000, p. 262). This study is
focusing only the production aspect of documentary films. Sociopolitical and
psychopolitical aspects that explain politics of film from consumption (audience) end
appear to be the limitation of this study. However, the researcher intends to deal with
these aspects in later studies.
The interrelationship of documentary and religion and the intersections of
documentary filmmaker structure an interesting triangle for this research. At times,
the boundaries of fiction and non-fiction images blur as a fictional image has the same
reality status as of a documentary image, because both serve as signifiers whose
relation to meaning is subject to interpretation. Selection processes effect the
relationship of signifiers and interpretations because images are located in space and
production treatment determines what to be shown and what to be obscured, so
camera‘s presence transforms the very reality it wants to record. Moreover, modern
digital technology equips filmmakers to manipulate realities, generate and edit images
with incredible sophistication, blurring the boundaries of physical reality and virtual
reality. However, audiences perceive documentary images as a proof to reality and
guarantor of the referential value.
2
Grierson, J. (n.d.). Quotes About Documentary Film and Filmmaking. Retrieved May 07, 2012, from
http://www.lib.berkeley.edu/MRC/reellife/quotes.html
5
1.2 Objectives of the Study
The researcher intends to explore and analyze
Patterns of depiction in terms of marginalization or prominence for religion(s)
in Oscar-winning and Oscar-nominated documentaries.
Technical treatment given to religion(s) and follower(s) of religion(s) is Oscar
documentary films.
The formation, integration and comparison of images regarding follower(s) of
religion(s) in Oscar documentary films.
The comparison of coverage given to different religions on the basis of
practicing and non-practicing followers.
Image of the followers of religions on the basis of gender in Oscar
documentary films.
The trends and patterns of secularization, if any, in pre and post 9/11 scenario.
Manipulation and interference of the filmmaker(s), if any, for the depiction of
religion(s) in Oscar documentary films.
1.3 Rationale for Documentaries, Religions and Time Period
Films in formalism tradition are much explored as compared to films in the
tradition of realism. As the literature review shows that many studies investigate the
depictions and portrayal of religions and/or followers in fiction films. Documentaries
were not very commercial until 1990s as mentioned in the background chapter. Now,
the documentaries are not only getting popularity but also doing good business. It
seems quite appropriate to analyze this less explored genre.

6
In this study, the selection of religions is not pre-decided. Any religion that is
depicted in Oscar-winning and Oscar-nominated documentaries will be studied.
However, for the selection of a documentary, religion is applied in terms of
follower(s), issue or discourses related to any religion. Predetermined criterion is the
presence of a believer (character) of any religion who exhibits religiosity and/or an
issue, idea, sign related with religion and/or a religious interpretation of any event,
phenomenon or issue.
The time period selected for this study is one decade starting from 1997 to
2006. Since the researcher submitted the synopsis in 2006 and tried to include the
latest time period that is 1997-2006. The selected time period provides an opportunity
to analyze Oscar documentary films in terms of pre and post 9/11 scenario.
1.4 Need and Importance of the Research
These days, liberal seculars dismiss all religious beliefs as ―childish myths.‖
Some actually believe that religion is of no real importance in our scientifically
educated world. Einstein (1954) says, ―Science without religion is lame; religion
without science is blind‖ (p. 36). It is science and religion that help human beings to
answer the questions of their existence, of the universe, and the relationship and
purpose of human beings in this universe. Many need both religion and science to find
the answers of their queries. History suggests that religion has been one of the most
powerful motivating forces throughout the ages and its power remains undiminished.
Drake summarises the relationship of religion and science at micro and macro level.
She has repercussions on the micro as well as the macro level. Religion contributes in
the psychological formations of individuals that influence in attitude development. At
the macro level, religion can influence the socio-political, cultural and economic
7
scenario of societies. For example, the Middle East conflict, alone, which threatens
the whole world, testifies to the enormous power of religious beliefs in modern times
(Drake, 2001, pp. 23-27).
Although freedom of religion is enshrined in the First Amendment to the U.S.
Constitution, American history has often been characterized by inter-religious
conflict. Without question, however, much progress has been made in overcoming
conspicuous forms of institutionalized religious discrimination. UN General
Assembly resolution 217 A (III) adopted and proclaimed the Universal Declaration of
Human Rights on 10th December, 1948. The Assembly called upon all its member
countries to disseminate and display the declaration without any distinction. Article
18 of the the declaration says, ―Everyone has the right to freedom of thought,
conscience and religion; this right includes freedom to change his religion or belief,
and freedom, either alone or in community with others and in public or private, to
manifest his religion or belief in teaching, practice, worship and observance.‖3
American society is exemplified as ‗melting pot‘ where different identities and
cultures bend, blend and blur and forms new identities but still there are concerns
about the recognition and acceptance of ‗others‘. The World Conference on Human
Rights on 14th to 25th June, 1993 in Vienna, Austria produced a Vienna Declaration
and Program of Action which recommended "that human rights education, training
and public information were essential for the promotion and achievement of stable
and harmonious relations among communities and for fostering mutual understanding,
tolerance and peace. Films and especially the documentaries can serve as a significant
tool to promote such ideals.
3
Universal Declaration of Human Rights. Retrieved May 25, 2012, from
http://www1.umn.edu/humanrts/edumat/hreduseries/TB6/html/Annexes.html
8
Documentaries are perceived to have a ‗clearly defined social purpose‘
(Nichols, 1994). This research aims to investigate religion-related documentary films
in the perspective of framing. Framing in the documentary films may have profound
effects by leading viewers to accept one meaning over another. Quantitative and
qualitative analyses of the contents of documentaries under consideration serve as a
means of understanding overt and covert messages. Since most media products have
an exchange value so documentary films as commodities can be evaluated for their
use value and exchange value (Ellis, 1989, p. 3). After Oscar nomination or Oscar
winning, the documentaries become more famous and their exchange value increases.
It seems interesting to analyze the contents of such films.
The documentaries at the advent of 21st century are more significant in terms
of doing good business and participating in political debates. At the Cannes Film
Festival 2004, Michael Moore's Fahrenheit 9/11 won the ‗Palme d‘Or‘. Higgins
(2005) writes about the festival in his article titled as, ‗Documentary in an age of
terror.‘ He says that the most interesting fact regarding Festival's 57 year history is the
film Fahrenheit 9/11 as it is the second documentary that won the top award in
Cannes Film Festival. Since the documentary framed 9/11 in a more political
perspective, it resulted in various attempts by the government to block the film‘s
distribution in American theaters. This reaction helped Fahrenheit 9/11 to become the
largest-grossing documentary ever, surpassing the previous record holder Moore's
own ‗Bowling for Columbine‘ (2002) by 600 percent. A major shift from the previous
century to this century in the documentaries is the increasing business factor as Errol
Morris's The Fog of War: Eleven Lessons from the Life of Robert S. McNamara
(2003) was related to the political scenario and did a great business. However the
documentary genre is facing drastic changes in its narrative format and

9
cinematography as well. Interest in the documentary genre at the advent of 21st
century is so widespread that "Producing Political Documentaries" was the cover
story for the October 2004 issue of Videography, a magazine for video production
professionals. The documentaries like ‗Going Upriver: The Long War of John Kerry‘
(2004) by George Butler is a historical biography framing a political issue about the
military service of Vietnam‘s presidential candidate and his subsequent work as a
peace activist. This renaissance of the documentary films is indisputably more in the
news. The documentaries, irrespective of the origin of the filmmaker and the non-
corporational perspective, are being reviewed by the newspapers and discussed by
other media for winning festival awards, igniting political debates, getting popularity,
escalating interest of the audience, and doing good business. After conducting the
pilot study through Internet Movies Database (imdb) the documentaries were studied
for the depiction of any religion(s). Researcher could find only three revealed
religions i.e. Judaism, Christianity and Islam. However, the other religions were not
found in the selected time period.
1.5 Pre and Post 9/11 Scenario
Drake (2001) says, ―The onslaught of religiously based terrorism has made the
world acutely aware of how readily militant Muslims or their potential victims could
ignite a war fought with biological, chemical and nuclear weapons‖ (p. 98). She
maintains that the consideration of using weapons of mass destruction by the
followers of revealed religions against their perceived ‗enemies‘ corroborates the fact
of modern life, so they need an improved understanding of God. We live in a highly
visual culture. Berger says, ―Seeing comes before words. The child looks and
recognizes before it can speak. But there is also another sense in which seeing comes
10
before words. It is seeing which establishes our place in the surrounding world; we
explain that world with words‖ (Berger, 1972, p. 7). Films as a tool of audio visual
communication are more pervasive as compared to other tools of communication. It is
interesting to analyze films from religions‘ perspective as sometimes films elude the
critical eye.
Historic tensions on the basis of religion have heightened concerns in the post
9/11 world about a clash of civilizations. The Jyllands-Posten cartoon controversy
ensures that the question of inter-religious relations will remain an important issue for
the public as well as for religious and political leaders. In 1995 NATO Secretary
General Willy Claes announced that ―Muslim fundamentalism is at least as dangerous
as Communism once was because it represents terrorism and religious fanaticism‖
(Ahmed, 2003, p. 103). Such statements from political leaders influence upon the
media agenda. News items all over the world promote such perceptions and film
producers construct such images and propagate myths. The practice of strictly
following the basic rules and teachings of any religion is called fundamentalism.
However, in current usage this term has assumed negative connotations.
It is now used to portray religious bigots as fundamentalists, which can be
erroneous and misleading. Paradoxically, the diversity of thought among the followers
of the same religion is often justified on the basis of an individual‘s freedom of
choice. The fundamental aim of most of the religions is the quest for peace that can be
achieved only by being tolerant for others‘ dogmas, extending respect to the followers
of all religions and believing in plurality of opinion. There is ample evidence to
suggest that some misguided elements under the guise of so-called fundamentalism
not only undermine the moral foundations of society that are based on human values,
but, in order to impose their perverted views on others, they do not even hesitate to
11
use violent means that are a serious deviation from the basic belief of any religion. It
may also be noted that the vast majority of the population remains silent when
religious extremists mount politically motivated hate campaigns against the followers
of other faiths.
Religious bigots are generally not amenable to reason. They believe that they
are right in their thinking to the exclusion of others‘ views. Such thinking not only
shows a lack of insight and pragmatism on their part but is actually an affront to the
religion they claim to follow. It is also important to note that these elements are
divided into factions that do not always get along with one another and follow
different routes in pursuing their objective. However, the international media can play
a positive role in conciliating intolerant approaches found among the followers of
different religions.
Nohrstedt and Ottosen (2006, p. 131) discuss about post 9/11 scenario and
investigate the coverage given to ‗The War on Terror‘ by global media that served to
label and perpetuate images of enemy. With reference to Galtung (2003) the authors
contend that after September 11 and October 7, 2001, three types of discourses were
offered by the media; one was the ‗terrorist discourse‘ inspired by the Islamic
Fundamentalists, the other was the ‗state terrorist discourse‘ articulated by the
fundamentalist USA, and the third is the ‗discourse for peace‘, the only one that is
balanced and worth implementing is the ‗discourse of peace.‘ In the light of the
statements of Pintak (2006), Nohrstedt and Ottosen (2006) it seems inevitable to
analyze texts produced by various media.
Films are a popular medium all over the world and films are widely watched
irrespective of the language barriers. Documentary films are perceived by audience as
window on reality so, the producers, directors and writers of documentary films must
12
be careful while dealing with any religion‘s beliefs and practices. Literary theorists
maintain that every text has an agenda above and beyond its ostensible content. No
text is created in a vacuum and no author can claim to be unaffected by the events,
experiences, and learning that shape his/her perception. A critical inquiry to explore
the various ways of portraying religions is the need of the hour. One way of analyzing
documentary regarding religion is in terms of what is portrayed and why, when and
by whom portrayed. As Nichols (1994) views documentaries as an ‗attempt to
represent the state of affairs in the historical or natural world itself rather than offer
openly imaginative representations of it‘ (p. 47).
The overwhelming revenue generation of the world's film production, TV
show production, cable channel ownership, cable and satellite system ownership,
book publishing, magazine publishing and music production is provided by almost 50
firms, and the first nine firms thoroughly dominate many of these sectors (Herman &
McChesney, 1997, p. 188). Concentration of media power can be troubling for the
true democracy so there is a growing need to investigate media contents being
produced by these media moguls. This monopolization may lead to the formation and
perpetuation of peculiar ideologies, cultures and thinking patterns. Pintak (2006) says
that after 9/11, a dichotomy has been the defining characteristic between America and
Islam. Both sides view each other through the prism of their own viewpoints. The
perceptions are amplified through the rhetoric of religion, ideology and often distorted
by the media (p. 374).
Religions should not be used to seek power and subjugate others rather play
positive roles in promoting the unity of mankind, regardless of ideological
differences. Global peace is most likely to be attained when there is peace among the
adherents of different faiths. The UN has launched an ―Alliance of Civilizations‖

13
(Ahmed, 2003, p. 7) to bridge the divide between various religions and overcome
prejudice, misconceptions and polarization arising out of this.
It is also important to focus on educational alternatives, including inter-
religious understanding and cooperation, responding to needs for personal and
communal transformation, inter-cultural enrichment and stimulus for tolerance.
UNESCO, in its report on the role of religious education, has recommended that it
should be conceived as a tool to transmit knowledge and values pertaining to all
religious trends, in an inclusive way. As a result individuals will realize their being
part of the same community and learn to create their own identity that should be in
harmony with identities different from their own. Media can play an effective role to
facilitate this process. This research work is an attempt to explore and investigate the
kind of messages disseminated through documentary genre regarding religions as
documentaries are also considered journalistic work.
This study is focusing upon the depiction of religions in Oscar documentary
films from production perspectives. The other way to approach the depiction of
religions in documentary films could be through audience. The reception analysis can
make the study more interesting by exploring what are the perceptions, attitudes and
behaviors that took place after watching the documentaries; why and how the
perception, attidues and behaviors are different etc. There are multiple factors that
determine audiences‘ perceptions and attitudes. Fiske (1992) entails, ―People‘s socio-
cultural position for example, co-determines the interpretation process in different
ways‖ (p. 292). However, the researcher is only focusing upon production aspects of
the documentary films due to certain constrainsts; reception analysis appears to be
limitation of this study. Studies on the audience end can make the research more
interesting and the researcher plans to deal with this aspect in future.
14
CHAPTER 2
Background
The word ‗documentary‘ is derived from the Latin word ‗docere‘ means to
teach. Although the documentaries were being produced earlier but the term
‗documentary‘ was first introduced by British filmmaker John Grierson for his film
‗Drifters‘ in 1929. Documentary is defined by different scholars in varied ways
however; documentary meanings can not be reduced to a dictionary definition (Hess
& Zimmermann, 2006, p. 97). It seems appropriate to explore the term and field of it
through different documentary filmmakers. Giannetti (1999) quotes Grierson's
definition of the documentary as "creative treatment of actuality" (p. 2). The statement
reflects that documentary is not an actual reality rather it is a (re)creation. According
Nichols (1991) documentary is one of the genres that include science, economics,
politics, and history discourses and claims to describe the real, to tell the truth. Yet
documentary film, in more obvious ways deals with fact, document and knowledge
and the visual languages with which it operates have quite different effects than does
the written text (p. 23).
2.1 Historical Background: Documentary Film Genre
Films have different genre. A genre is a specific category or way of classifying
films which have similar conventions including a similar artistic style, narrative form,
and/or thematic content. Artistic style is a distinctive or characteristic way in which
the film looks and sounds; editing, lighting, shot composition, types of scenery,
costumes, props, settings, techniques used in the film, and the overall impression a
film looks or feels includes the artistic style. The word narrative means fabula, story
15
and narrative text (McQuillan, 2000, p. 45). The analysis of narratives is approached
through three elements of narratives; application of fabula means material or the
content, story is a series of chronological and logical events explicitly arranged and/or
rearranged, it can also include the types of characters that appear in the text (Bal,
1997). Narrative text is the genre in a particular medium, since the documentary has
different traditions so the concept of genre can be approached through traditions as
well as the medium including, cinema, television and/or DVD. The term thematic
comes from the word theme that refers to basic idea(s), or subject of the film, the
central issues, problems, or questions that are addressed in the film, the overall
message being expressed or conveyed. Determining the documentary film as a piece
of reality or a representation on reality is an oscillation between immediacy and
hyper-immediacy, between transparency and opacity (Scott & White, 2003, p. 323).
The viewer is supposed to believe the actuality of the image thus documentary deals
with the visual level of believability. Bruzzi argues that ‗it is the juncture between
reality and filmmaker that is the heart of any documentaries (Bruzzi, 2000, p. 6).
The idea of ―documentary‖ can be approached through three perspectives; the
filmmaker, the text, and the audience. The Documentary filmmaker, as compared to
other filmmakers, exercises relatively less control on the subject and content of the
documentary (Giannetti, 1999, p. 12). Bill Nichols quotes Bordwell and Thompson
claim, ―We often distinguish a documentary film from a fiction film on the basis of
production. Typically the documentary filmmaker controls only certain variables of
preparation, shooting and assembly; some variables (e.g., script, rehearsal) may be
omitted, whereas others (e.g., setting lighting, behavior of the figures) are present but
often uncontrolled‖ (Nichols, 1991, p. 21). Some other aspects consisting filmmakers
perspective include the relations of power, hierarchy and knowledge between

16
filmmaker and subject, the forms of sponsorship or consent, and film distribution
processes. Jill Godmilow4(1997), the documentary filmmaker in an interview to a
historian Ann-Louise Shapiro comment about documentary, ―Unconsciously
embedded in these forms called documentary is the conceit of ‗the real,‘ which
substantiates the truth claims made by these films… documentary is the label ‗non-
fiction,‘ but it's tainted too.‖
According to Pramaggiore and Walls (2005) documentary is different from
commercial fiction film in various manners like purpose, mode of production,
exhibition venues, and their formal organization and visual style. Commercial fiction
films are produced to appeal to larger audience in order to earn money for the
companies that produce, distribute and exhibit them (p. 245). Some scholars in film
studies give preference to the text of the film from audience perspective. However,
Aguayo5 (n.d.) contends ―Theoretically, there is much left to be studied concerning
the speaker (filmmaker)-text (documentary)-audience dynamic of documentary film.
By studying this rhetorical relationship, scholars may come closer to understanding of
the civic, social and political functions of documentary film‖ (p. 6)
One way of defining the documentary can be through the process of
highlighting the salient characteristics that documentaries have in common which
differentiate them from other film traditions. According to Nichols one can
differentiate documentaries on five grounds; subjects, purposes or points of view or
4
Jill Godmilow is a producer/director of documentary films that include: a 1984 non-fiction feature,
Far from Poland, about the rise of the Polish Solidarity movement; Waiting for the Moon (1987), a
feminist/modernist "fiction" about the lives of the literary couple Alice B. Toklas and Gertrude Stein;
Roy Cohn/Jack Smith (1995), a cinematic translation of a theater piece by performance artist Ron
Vawter; and, most recently, What Farocki Taught, a replica and interrogation of a 1969 non-fiction
film by German filmmaker Harun Farocki about the production of napalm during the Vietnam war.
Godmilow has been teaching film production and critical studies in the Department of Film, Television
& Theatre at the University of Notre Dame since 1992. ‗How real is the reality? Jill Godmilow (1997).
In conversation with Ann-Louise Shapiro.‘ Accessed on 24th October 2008 from website:
http://www.nd.edu/~jgodmilo/reality.html
5
webspace.utexas.edu/cherwitz/www/ie/samples/aguayo.pdf Accessed on 26th April, 2012.
17
approaches, forms, production methods and techniques, and the type of experiences
documentaries offer to the audiences (Nichols, 1991, p. 2). Documentary subjects are
usually based on individual human actions and relationships. Points of views reflect
filmmaker‘s choice or selection of a particular subject which is considered significant,
somehow highlights the perception and understanding of the filmmaker about the
contents filmed. Form is the formative process and montage as filmmaker tries to
extract and arrange from what already exists however filming of actual event and re-
enactment of event are quite different processes.
In production methods and techniques, documentaries are quite different from
other film genres as no sets are constructed and real people play themselves however,
editing involves the process of putting together the sound and the images. Finally,
documentary filmmakers try to provide two types of experiences to their audience;
aesthetic experience and persuasive experience (Nichols, 1991, pp. 2-3). Rotha (n.d.)
critically analyzes documentary by saying that documentary defines not subject or
style, but approach. It does not reject the idea of trained actors or the advantages of
staging. It justifies the use of every known technical artifice to gain its effect on the
spectator. For the documentary filmmaker people and things are only superficial. ―It is
the meaning behind the thing and the significance underlying the person that occupies
his attention....Documentary approach to cinema differs from that of story-film not in
its disregard for craftsmanship, but in the purpose to which that craftsmanship is put.
Documentary is a trade just as carpentry or pot-making; the pot-maker makes pots and
the documentarian documentaries‖ (Rotha, as cited in Ellis, 1989, p.7).
In light of Rotha‘s statement, documentary is clearly a voice of the filmmaker
and attempts to convey a special message perceived by its creator. Hereby it seems
appropriate to discuss the objectives or purposes of documentaries defined by various

18
scholars. Renov (1993) suggests that a documentary serves four distinctive and
sometimes overlapping objectives; it records, reveals and preserves, it persuades and
promotes, it analyzes and interrogates, and finally it expresses something. The
documentary not only records reality but promotes certain ideals of what is real. It
suggests how the world should be viewed, and what social changes are necessary to
make the world a better place. It is difficult to clearly demark the boundaries of a
documentary (p. 7).
Every documentary reflects its author's repertoire of experience and his/her
creative vision of reality. The concept of auteurship can be applied on formalism and
realism both; it suggests filmmaker‘s creativity within the cinema (Hill & Gibson,
1998). The concept of auteurship helps to understand how representations in
documentary films are unable to give true and fixed meanings. Giannetti (1999) states
realism, classicism and formalism are the terms used in the film domain to express the
styles of films but these categories are not very exclusive and distinctive. In the case
of a realist film, audiences pay close attention to the plot of the story and follow the
story as if it is taking place before their own eyes. Camera manipulations, takes,
editing, lights, sounds and other effects if applied any, seems to be very natural.
Realistic films aim to reproduce reality with a minimum distortion (p. 2).
However, realism and reality are two different things; the former is a particular style
and the later is the source of all the raw materials of films whether the film is
formalist or realist. Formalist films are stylistically flamboyant and have a high
degree of manipulation and stylization. Camera is used as a method of commenting on
the subject matter. Formalists are often referred to as expressionists because their self
expression is considered as important as the subject matter. The term avant-garde in
film studies is used for the original and new concepts and techniques so, true formalist
19
films are considered avant-garde. Most fiction films tend to conform to the classical
paradigm. Classical cinema can be viewed as an intermediate style that avoids the
extremes of realism and formalism, though most movies in the classical form lean
towards one or the other style.
2.2 Documentary Film Traditions: A Historical Perspective
The earliest "moving pictures" were, by definition, documentaries. They were
single-shot moments captured on film: a train entering a station, a boat docking, or a
factory of people getting off work. Camera was playing the role of a silent observer
without any movements, no editing or montage was involved in the documentary film
as it was purely perceived ‗a window on reality‘. We can divide the history of
documentary into different annals of smooth progression, trends, changes,
perspectives and persistent patterns with reference to technological advancement and
theoretical underpinnings.
Actuality Films (Pre-1900)
Films before 20th century were dominated by the novelty of showing an actual
event and not the re-enactment of an event. Camera served as a still and silent
observer of an observable phenomenon. The term "documentary" was not coined until
1926 so these films were called "actuality" films and consisted of very small duration
a minute or less due to technological limitations. These films were without narrations
of commentary. Auguste and Louis Lumiere are the remarkable names in early
filmmaking.
Re-enactment Films (1900-1920)
In the wake of transition from actuality to re-enactment films, travelogues or
scenic films became very popular. In 1914, ‗Land of Head Hunters‘ that was based on
20
the true re-enactments of Native Americans proved a combination of primitivism and
exoticism. In 1919, Frank Hurley's documentary film about the Imperial Trans-
Antarctic Expedition to South was released. It was again a re-enactment of an
expedition by Ernest Shackleton in 1914. Since the term ‗documentary‘ had not been
coined yet, filmmakers were in the phase of experimentation and trying innovations.
Documentary During 1920s to 1940s
Documentary film in this era was facing many traditions determined by the
ideology and theory. Romanticism, realism, Kino Pravda, and newsreel were
emerging as myths in documentary filmmaking.
Romanticism
Romanticism is a movement in literature and art during the late 18th and early
19th centuries that celebrated nature rather than civilization. ‗Nanook of the North‘ by
Robert Flaherty is said to be the first English documentary released in US in 1922 that
embrace romanticism. He portrayed inhabits of the North and presented how his
subjects would have lived 100 years earlier and not how they lived right then.
Flaherty staged igloos for interior shots to accommodate the filming technology of
that time.
Realism
The realist tradition focused on humans within human-made environments.
Realist films tend to feature people as products of their environment, and lean towards
the avant-garde. The representative films of realism include ‗Man with the Movie
Camera‘, ‗Rien que les Heures‘, and "city symphony" films. As MacCann (1973)
contends that in 1930s, it was the popular myth about documentary that only 'real
people' ought to be photographed in the documentary films (p. 11). This concept came
21
out of an era of realism in still photography that the subject must exist in reality or
should be real.
Kino-Pravda
Kino-Pravda is a Russian word which means cinema truth. Dziga Vertov
appears to be a central figure of this tradition by producing newsreel series in 1920s.
Vertov believed that camera is more accurate in observing realities than the human
eye. He maintains that owing to technological sophistications like, variety of camera
lenses, editing facilities, slow and fast motion techniques, and time lapse reality is
more accurately captured by camera than a human eye could observe.
Newsreel tradition
Newsreel tradition carries both the actuality and re-enactment of events that
had already happened. Films on war were usually the re-enactment of the events took
place during the war. In the retrospect of WWI, filmmakers tried to capture the events
related to war and sometimes mixed the staged and re-enacted events to leave deep
repercussions on the audience.
Propagandist Tradition
Films produced for the persuasion of audience belong to this tradition and
usually tend to arouse negativity towards enemy and highlight extremely positive
image of self. Frank Capra6's ‗Why We Fight‘ series was a newsreel series in the
United States, produced by the Defense Department, commissioned by the
government to convince the U.S. public that it was time to go to war. Commissioned
by the Canadian government, Grierson produced newsreels to cope up the
psychological warfare of Nazi Germany. Documentary Film Movement under the
patronage of John Grierson emerged in Britain and prominent documentary
6
http://www.knowledgerush.com/kr/encyclopedia/Documentary_film/ Accessed on January 15, 2008.
An Article on Documentary Film.
22
filmmakers joined Grierson including Alberto Cavalcanti, Harry Watt, Basil Wright
and Humphrey Jennings. They experienced documentary by blending propaganda,
information and education and added a more poetic aesthetic approach to
documentary. Amongst the most well known films of the movement are ‗Night Mail‘
and ‗Coal Face‘.
Cinema Verite and Cinema Direct (1950s to 1970s)
This era is remarkable for the fact that anything that was observable
irrespective of its location got the potential to be filmed due to technological
progression. Films in this tradition are a reaction to studio based film production and
rests on technological advancement and production facilitations. According to
Barnouw (1993) on location shooting trend and synchronization of sound, reflexive
viewing and capturing image at the spot nurtured this tradition of cinema verite and
cinema direct. The traditions of cinema verite and cinema direct can be differentiated
on the bases of filmmaker‘s degree of involvement. The term ‗Cinema Verite‘ is
coined by a Frenchman Jean Rouch who referred documentary film ‗a combination of
Vertov‘s theory and Flaherty‘s method‘ (Ellis, 1989, p. 225). Cinema verite tradition
denies that filmmaker can achieve objectivity and camera can be unobtrusive as
filmmaker has a complete authority to select the subject and exhibits an attitude
towards the subject. Direct cinema believes in the possibility of an objective
observation and subjective selection on the part of filmmaker. ―The relationship
between filmmaker and subject persons must be relaxed and trusting in order for the
filmmaking to fit into ongoing action without affecting it‖ (Ellis, 1989, p. 223).
Documentaries as Political Weapons
During 1960s, documentary film was perceived as politically charged material
against neocolonialism and capitalism in general. Films carried capitalist, communist,

23
feminist and other philosophies as one of the French Journal pointed out ―Every film
is political, inasmuch as it is determined by the ideology which produces it (or within
which it is produced, which stems from the same thing). The cinema is all the more
thoroughly and completely determined because unlike other arts or ideological system
its very manufacture mobilises powerful economic forces in a way that the production
of literature does not‖ (Comolli & Narboni, 1969, p. 30). The situation is not different
even at the advent of 21st century as Caryn James in New York Times writes about the
80th Academy Awards organized in 2008, that all the five nominations for the
category of best documentary feature are politically charged. Four out of five deal
with war topics.
Modern Documentaries
Modern documentaries are characterized by increased technological advances,
latest technical sophistications, decreased price of film equipment, and growing
interest of audience towards this film genre. Read and Meyer (2000) in their book on
the ‗Restoration of Motion Picure Film‘ contend that restoration is the process of
compensating for degradation by returning an image to close to its original content.
Film image is analogue due to its nature as the density, saturation, and resolution.
Digital technology is helping to modify and improve the image before its release.
Modern documentaries are produced with the help of digital technology therefore,
degradation is in control.
Documentaries are now an amalgamation of various traditions and carry
various forms and styles. Film companies are prompted to make documentaries due to
far lower budgets as compared to dramatic narrative films. Critics sometimes refer to
modern documentaries as "mondo films" (mondo literally means ‗world‘ while
Mondo Cane an Italian film in 1962 established this tradition) or "docu-ganda"

24
(means propaganda documentaries). Technological revolution has made it possible for
everyone to make a movie and spread the ideas around the world through You Tube
or Blogs and find ever growing audiences. Websites are available to log on and host a
screening or become the part of segregated audience.
2.3 Documentary Film Modes
The word ‗mode‘ in documentary refers to the method that the story or
information is told in a documentary film. It is a kind of ‗genre‘ that explains the
basic style, content, form or pattern of production of a documentary film. A
documentary can be a mixture of different ‗modes‘ and sometimes made in a single
mode, depending on the objective, requirement and the argument strategy of the
filmmaker. Different film scholars have described different modes. Nichols (2001)
describes four modes of documentary including expository, behavioral, interactive,
and reflexive mode. Documentaries, through modes, propose, challenge, criticize or
reinforce arguments. He contends ―the logic organizing a documentary film supports
an underlying argument, assertion or claim about the historical world‖ (pp. 27-32).
One of the main arguments a documentary film suggests is that the images
depicted in the film are real. Rhetorical devices facilitate a documentary filmmaker to
present argument in such a way that appeals to logic, ethics and emotions.
Pramaggiore and Wallis (2008) write ―Documentary filmmakers employ a number of
rhetorical strategies to support their assertions about the world‖ (p. 286). The
rhetorical strategies mentioned are ‗the voice of authority mode‘, talking heads mode,
direct cinema mode, and ‗self-reflexivity‘. The researcher has analyzed the
documentary films under study in the light of mentioned rhetoric strategies as modes
25
of films. The analyses help researcher to explain the kind of treatment given by a
filmmaker for the depiction of religions.
Voice of authority mode is one of the main strategies that work as an evidence
by proposing an argument with the combination of voice over and images. Voice of
authority mode provides a chance to the filmmaker for his or her authoring presence.
It comes under the ‗expository mode‘ of the documentary filmmaking. ―Knowledge in
expository documentary is often epistemic knowledge in Foucault‘s sense of those
forms of transpersonal certainty that are in compliance with the categories and
concepts accepted as given or true in a specific time and place, or with a dominant
ideology of common sense such as the one our own discourses of sobriety support‖
(Nichols, 2001, p. 35).
Voice over has been a primary source of relaying information and
persuasively making a case since at least the 1920s. The text takes shapes around
commentary and the images serve as illustration or counterpoint. Editing usually
serves to establish and maintain rhetorical continuity more than spatial or temporal
continuity. Cuts produce unexpected juxtapositions and provide fresh insights and
new metaphors that the filmmaker intends to suggest. The voice over commentary can
extrapolate from the particular instances and supports the inclination toward
generalization hence giving the impression of objectivity and well-substantiated
judgment. It facilitates viewers to argue with the help of proposed points and
propositions and the viewer does not usually question the process by which
knowledge is produced, organized and regulated. The viewers expect that a
commonsensical world will unfold in terms of the establishment of a logical link
between sequences and event.

26
Recurrence of the images and other contents serve as potent arguments and the
viewer expects the solution of a problem or conflict from the text. Ken Burns‘ „The
Civil War‟ (1990); Robert Hughes‘ „The Shock of the New‟ (1980); John Berger‘s
„Ways of Seeing‟ (1974); Frank Capra‘s „Why We Fight‟ series during World War II
are a few examples of this mode of documentary.
Talking heads mode as a rhetoric strategy combines images and verbal
testimony (interviews) of the individuals filmed in a documentary. Viewers may
identify themselves with the feelings, expressions, experiences and perspectives of the
subjects being interviewed in the documentary. Editing processes facilitate a
documentary filmmaker to corroborate or call in question anything that is filmed. Real
people interviewed in the documentary may make assertions or confutations that serve
as an argument in favor of a viewpoint. Juxtapositions, music, light, non-diegetic
sound can prove to be supportive or against the point made by the interviewee.
A documentary that consists of only interviews of the subjects is called
‗Talking Head Documentary‘. There are many documentary filmmakers who have
applied talking heads rhetoric strategy to assert a particular perspective for example
Vertov‘s The Man with a Movie Camera (1929); Alain Resnais‘ Night And Fog
(1955), Rouch and Morin‘s Chronicle of a Summer (1960); Ross McElwee‘s
Sherman‟s March (1985); Errol Morris‘s documentary „Fast, Cheap and Out of
Control‟, Michael Moore‘s „Fahrenheit 9/11‟, Morgan Spurlock‘s „Super Size Me‟
belong to this mode of documentary.
Objectivity, one of the cherished goals of journalism, led to the tradition of
direct cinema mode or ‗Cinema Verite‘. Technology facilitated to materialize this
ideal and ‗Observational Documentaries‘ were produced. This radical shift from
talking heads mode to direct cinema mode was an attempt to make documentaries
27
impersonal, unbiased and free of any evidence of filmmakers‘ perspective or stance as
well as participants of the documentaries were not aware of the presence of cameras.
Two of direct cinema mode techniques; the static camera and the long take
help filmmaker to appear unobtrusive. Apparently filmmaker remains invisible and
the documentary in this mode creates an impression as if viewers are watching things
happening before their own eyes, without being noticed by the subjects of the
documentary. However, the pre and post production selection processes including
topic, shots, framing, temporality, sound, light and juxtapositions etc are subtle and
remain invisible in this mode and help filmmaker to maneuver things with great
freedom. Frederick Wiseman‘s films, e.g. High School (1968); Gilles Groulx and
Michel Brault‘s Les Racquetteurs (1958); Albert, David Maysles and Charlotte
Zwerin's Gimme Shelter (1970); D.A. Pennebaker's Don‟t Look Back (1967), Leni
Riefenstahl‘s Triumph Of The Will (1934) fall in this mode of documentary.
A fourth rhetorical strategy in the modes of documentary filmmaking is ‗Self-
reflexive Documentary‘ in which the process of filmmaking becomes the part of the
subject matter. The mode helps viewer to understand the construction of ‗reality‘ and
its relationship with the documentary images. Viewers can critically evaluate the
nature of cinematic truth and can appreciate the issues of epistemology, ontology and
axiology related with the depicted reality. Werner Herzog‘s „Grizzly Man‟; Jim
McBride & L.M. Kit Carson's David Holzman‟s Diary (1968); David & Judith
MacDougall‘s Wedding Camels (1980) are documentaries made in this tradition.
2.4 History of Documentary Films in the Sub-continent
Barnouw and Krishnaswamy (1980) documented history of Indian cinema.
They contend that history of documentary films in the sub-continent started in the 19th
28
century with the creation of ‗factual films‘. The sub-continental documentaries may
be traced back to the ‗Factual Films‘ or ‗Topicals.‘ Harisch Chandra Sakharam
Bhatwadekar, who was known as Save Dada7 also called them factual films. In 1899
he shot a wrestling match between two well known wrestlers Pundalik Dada and
Krishna Navi at Bombay‘s Hanging Gardens. ‗Antics of Monkeys‘ was the short
documentary followed and known as the first sub-continental documentaries.
According to Herbert and McKernan (1996), Harichandara (Save Dada) made the first
sub-continental ‗newsreel‘ in 1901. He filmed the public reception accorded to
Ragunath-P-Paranjpye, who was a graduate of Cambridge. In 1903, Save Dada
covered the real Durbar held in Delhi to celebrate the great coronation of Edward VII.
Initially these ‗factual films‘ were confined to the ‗installation functions and
weddings of Maharajas, Dusserah festivals, day to day life of the people in sub-
continent, snippets from Parsi theater etc‘ (Miznab, 1980).
In 1917, the customary documentary making started to change and factual
films as a genre established. It was Dadasaheb Phalke8, the father of sub-continent
fiction films, who started factual filmmaking. He also made a documentary on the
topic of ‗Chitrapat Kase Taya Kartat‘ (how films are made). In 1917, wherein he
showed himself directing the cast, shooting and editing a film. In 1920, a newsreel
was made of the funeral procession and cremation of Lokmanya Tilak. Soon general
sessions of the Indian National Congress were covered. Aurora Film Corporation
pioneered a regular newsreel named ‗Calcutta Film Gazette‘. All of the shootings
were in Calcutta consisting of scenes in streets, bathes in river Hoogly, cock fights
etc. Up to 1920s, the earliest topicals were the films on the sessions of Indian National
7
H. S. Bhatavdekar. (2012, May 15). Retrieved from http://en.wikipedia.org/wiki/H._S._Bhatavdekar
8
Dadasaheb Phalke. (2008, April 18). Retrieved from http://en.wikipedia.org/wiki/Dadasaheb_Phalke
29
Congress, a solar eclipse, the Victoria‘s Cup Race, inauguration of Tata hydroelectric
station etc. Initially the filmmaking process involved a cameraman shooting scenes,
followed by removing bad shots and camera stops and then scenes were joined under
the concept of editing. Some of the earliest pioneers of topicals were; Narayan G.
Devave, Patankar Brothers, Hiralal Sen (Armes, 1987, pp. 118-123).
According to Barnouw and Krishnaswamy (1980) in 1930s, when Robert
Flaherty, John Grierson, and Basil Wright were becoming aware of the theory and
practice of documentary films, almost the same time, the seeds of documentary films
in the sub-continent began to germinate. So, the time came in 1930s when the latest
documentary film concepts approached sub-continent through the following persons:
Dr. P. V. Pathy, who had studied cinematography at Ecole Technique de Photographie
et de Cinematographie (ETPC), the pioneer school of cinematography in Paris and
made films during his stay in Paris, K. S. Hirelekar, who had studied the Cultural
Films in Germany, D. G. Tendulkar, who had studied motion pictures in Moscow and
Germany. These experts brought the latest concepts of the documentary films and laid
the foundation of documentary movement in the sub-continent.
The article Harishchandra Sakharam Bhatwadekar (Save Dada) Pre-
Independence Era9 (n.d.) mentions ―In the mid 1930s, the Quetta earthquake took
place. It was a major disaster. To cover this dreadful event, ‗The Imperial Film
Company of Bombay‘ made a film synchronized to running commentary. An appeal
for funds was made for those suffering as a result of earthquake in 1935. In 1936,
Hirelekar began a sub-continent newsreel on 16 mm and shot a Congress session at
Faizpur. Afterwards in 1938, Wadia Movietone and Chicago Radio in a combined
effort covered the Haripur Congress session‖ (p. 2).
9
Retrieved on May 16, 2012 from
http://wiki.phalkefactory.net/images/6/63/Harishchandra_Sakharam_Bhatwadekar.pdf.
30
Soraba10 (2010) documents the history of Indian filmmaking. He maintains
that with the breaking of the World War II in 1939, the documentary movement got a
break through. The British decided to provide infrastructure to boost war efforts. In
1940, the British introduced a Film Advisory Board (FAB), which had J.B.H. Wadia
and Alexander Shaw as chief producer. Alexander Shaw made films to give coverage
to the war efforts; however, he made other films including ‗Women of Indian Sub-
continent‘, ‗Industrial Sub-continent‘ etc. A. Bhaskar Rao is among the earliest
documentary filmmakers. He made a documentary ‗The Tree of Wealth‘ which was
one of the earliest documentaries to win award abroad.
Garga (1987) writes that when Shaw left the FAB in 1942, Wadia persuaded
V. Shantaram to take over as chief producer. Shantaram did made a few films for
FAB but when Mohan Das Karamchad Ghandi gave a call for ‗Do or Die‘ in 1942, he
resigned and Ezra Mir took over. Gazdar (1997) maintains that Ezra Mir was the ―first
Indian to visit America to study the motion picture industry of Hollywood. On his
return to India, Mir joined Ardeshir Irani and edited Alam Ara, the first sound film of
the sub-continent. He was also one of the first people to make documentaries in India
(p.26). The government realized that FAB is insufficient to expand and consolidate
film production and distribution units. On 1st February, 1943 government formulated
two other departments for the development of films including ‗The Information Films
of India‘ (IFI) and ‗Indian News Parade‘ (INP).11
The British government was very much concerned that the information
regarding war should reach to the maximum people; exhibitors were compelled to
include 2000 feet of film approved by government. That‘s how the British
10
Soraba, A. T. R. (May 23, 2010). A brief account of the socially committed documentary in India in
relation to Patwardhan‘s films. Retrieved from http://avinashtr.blogspot.com/2010/05/political-
documentaries-in-india.html
11
Indian Film History. (May 25 2008) Retrieved from
http://wiki.phalkefactory.net/index.php?title=Indian_Film_History
31
government laid basis of compulsory distribution that nourished Films Division.
Further, the government charged a modest rental depending on the size and category
of cinema that facilitated to generate revenues from films.12
Noronha (2005) states that the two departments The IFI and INP were working
under the direction of Ezra Mir and William Moylan respectively. The departments
mostly designed and produced documentaries to promote ‗war efforts‘ however, a few
other documentaries were also made on the topics of arts and crafts in sub-continent,
Indian classical dancers, and major industries of the sub-continent. The IFI under the
control of Ezra Mir had a sizeable technical and administrative staff.
Garga (1987) contends that during 1940-1946, FAB and IFI produced more
than 170 films apart from INP newsreels. Documentaries were imported from other
countries and dubbed in the local languages of the sub-continent during this time
period. However, IFI met an abrupt end in 1946. The reason was dearth of finances.
In the process of transfer of power, the interim government comprising of the
nationalistic elements cut down the grant to IFI and INP to a token rupee due to their
role in war propaganda films. As a consequence there was no official production of
documentaries for almost two years. That was why there was no official film unit to
cover the event of the independence of sub-continent.
Motion Picture Archive of Paksitan13 states history of film in Pakistan on
Pakistan film database website. On the historic mid-night of independence on 14/15
August, 1947, the ceremonies and subsequent nationwide celebrations were covered
by cameramen of London, New York, Paris and other cities. Dr. P. V. Pathy managed
to coax Ambalal J. Patel, a multipurpose film unit with only two camera and sound
12
Harishchandra Sakharam Bhatwadekar (Save Dada) Pre-Independence Era. (n.d.). Retrieved May 16,
2012, from http://wiki.phalkefactory.net/images/6/63/Harishchandra_Sakharam_Bhatwadekar.pdf.
13
Motion Picture Archive of Paksitan. (2008, September 26). Pakistan Film History. Retrieved from
http://www.mpaop.com/PakFilmHistory.htm
32
equipment. Jawahar Lal Nehru‘s ‗tryst with destiny‘ speech and Quaid-e-Azam‘s
slogan of Pakistan Zindabad were covered by international newsreel cameraman and
independent filmmakers.
Post Independence Era of Documentary Film in India:
Narwekar (1994) maintains that it was in December 1947 that the standing
Finance Committee of the Government of India approved the scheme for the revival
of film producing and distributing organizations as a ‗Mass Media Unit‘ of the
Ministry of Information and Broadcasting. This was largely due to the wisdom of the
then Home Minister Sardar Patel, who was also the incharge of the Ministry of
Information and Broadcasting. In 1948 the government decided to revive IFI but
geared in a manner to fulfill the needs of independent India.
Gangar14 (n.d.) writes in his article titled ‗The Cinema of Prayoga‟ that ‗Films
Division‘ was formed and described as the official organ of the government of India
in 1948 (p. 7). Documentaries and newsreels were made by the Films Division
Department working under the ministry of information and broadcast. Noronha
(2005) states in his article on ‗The Indian documentary‟ that the two cities of India
Bombay and Madras known for film production had to undergo censor codes in 1948
that gave rise to documentary film production. The documentaries were to be released
under the banner of ‗Documentary Films of India‘. Newsreels were given the trade
name of ‗Indian Newsreels Review‘.
From June 1948, Films Division started regular distribution of newsreels and
documentaries through its own distribution set up. In July 1948, Mohan Bharnani was
14
Gangar, A. (n.d.) The cinema of prayoga. Retrieved May 16, 2012, from
http://webcache.googleusercontent.com/search?q=cache:9lwS14lzLm4J:http://www.avikunthak.com/Pr
ayoga%2520Website/Images/Cinema%2520of%2520Prayoga.pdf%2BIn+April+1948,+%E2%80%98F
ilms+Division%E2%80%99+was+formed+and+described+as+the+official+organ+of+the+government
+of+India+pdf&hl=en&gbv=2&gs_l=hp.3...22360.24485.1.24875.6.0.0.6.0.0.0.0..0.0...0.0.-
ga0eFyMsq0&ct=clnk
33
appointed as ‗Deputy Controller Documentaries‘ and S. L. Badami as incharge of
newsreels. Later on, both were re-designated as ‗Chief Producer Documentaries‘ and
‗Chief Producer Newsreels‘ respectively. In November, 1948 majority of the staff was
recruited in the Films Division and the department stared functioning. In the
subsequent years, Films Division‘s work was very efficient. During 1949-50, films
were dubbed in English, Hindi, Tamil, Bengali and Telegu. Almost 97 films were
produced during 1949-50. Children‘s Film Society, India (CFSI) also known as
National Centre of Films for Children and Young People (NCFCYP) was established
in 1955 to provide value-based entertainment to children through the medium of films
and is engaged in production, acquisition, distribution and exhibition of such films.
According to Barnouw and Krishnaswamy (1980), The National Film Archive
of India (NFAI) was established as a media unit of the Ministry of Information and
Broadcasting in February 1964. Its three principal objectives are: (i) to trace, acquire
and preserve for posterity the heritage of Indian cinema; (ii) to classify, document
data and undertake research relating to films; and (iii) to act as a centre for the
dissemination of film culture. NFAI has been member of the International Federation
of Film Archives since May 1969.
The Directorate of Film Festivals (DFF) was set up by the Government of
India under the Ministry of Information and Broadcasting in 1973 with the prime
objective of promoting good cinema. Since then, the Directorate has provided a
platform for the best in Indian cinema by holding the National Film Festival every
year. DFF participated in 44 International Film Festivals and non-feature film
Nirankush bagged the Special Jury Award at the Pyongyang International Film
Festival.
34
Armes (1987) writes that the National Film Development Corporation
(NFDC) Limited incorporated in 1975, was restructured in 1980 after amalgamation
of the Indian Motion Picture Export Corporation (IMPEC) and Film Finance
Corporation (FFC). The primary objective of NFDC is to foster excellence in cinema
and to develop state-of-the-art technology in audio visual and related fields (p. 177).
Apursansar15 (n.d.) writes in his article titled ‗India: A documentary history‟
that Paul Zils, a German by birth, was appointed as the head of IFI External Services
Unit. Noronha (2005) states that when the IFI closed down, Zils started the
Documentary Unit of India (DUI). PV Pathy joined him as cameraman and later on
Fali R. Bilimoria became his professional collaborator and partner in DUI and its
successor concern Art Films of Asia (AFA). Under the banner of DUI and later AFA,
they produced over 60 documentaries, many of which were screened in International
Film Festivals at Edinburgh, Berlin, Cannes, Locarno etc. and won awards as well.
Some of their important films are A Tiny Thing Brings Death, Mother, Child,
Community and A Village in Travancore.
The Indian documentary: the post independence era (n.d.)16 states that
Burmah-Shell is one of the most enlightened sponsor of the short film. James A.
Beveridge of the National Film Board of Canada and a protégé of Dr. John Grierson
planned the Burmah-Shell Films. According to Narwekar (2008), Ezra Mir took over
charge as Chief Producer of Films Division in 1956. During his five year tenure,
Films Division produced over 400 documentaries (p. 9). Jahangir Bhavnagar, who had
been the Deputy Chief Producer of Films Division from 1954 – 57, was appointed
again as Deputy Chief Producer of Films Division in 1965. Many great films surfaced
under him at Films Division. Sastry's I am 20, Fali Bilimoria's The House That
15
Apursansar (n.d.). India: A documentary history. Retrieved May 18, 2012, from
http://mubi.com/lists/india-a-documentary-history
16
http://www.upperstall.com/content/the-indian-documentary-post-independence-era
35
Ananda Built, Sukhdev's India 1967 and M.F. Husain's Through the Eyes of a Painter
among others were produced by Films Division. The success of their three hour film
on the Asiad in New Delhi in 1982, encouraged Films Division to undertake several
such long films like the Indo-Soviet co-production on Nehru by Shyam Benegal and
the Soviet Director A. Aldokin. A documentary film of three hour on Satyajit Ray,
one of India's greatest film directors, was also produced by Benegal.
Narwekar (2008) appreciates the role of Pndit Jawaharlal Nehru in promoting
documentary film tradition in India (p. 9). Indian governments‘ patronage resulted in
the development and growth of films. Films Division soon became one of the most
important sources of public information and tried to reach out to people in the
remotest areas of India. Its early work used imagery, today considered typical of the
iconography of the Nehru Era. The Films Division also organizes International Film
Festivals for Documentary, Short and Animation Films. The Division organized
documentary festivals at Jaipur, Bhubaneshwar, Thiruvanantha Puram and Shimla.
The Division also participated in the Seventh International Festival in Japan,
Hiroshima, 1998 and bagged 14 State, National and International Awards in 1998.
Sinha (2008) contends that The Films Division is entrusted with the task of
organizing the biennial Mumbai International Films Festival (MIFF) for Documentary
Short and Animation Films (p. 20). The film Bhiwandi Tragedy produced by the
Division was adjudged as the best film in the non-fiction category of less than 40
minutes duration films. During 1997-98, the Division produced 31 news magazines,
80 documentaries, short feature films, released 18,755 prints of 34 documentaries and
21 news magazines in the theatrical circuit and also sold 809 prints and 7,822 video
cassettes of its films for non-commercial use in India and abroad.

36
According to Downing and John (1987) India makes one out of every four
theatrical films produced annually in the world and, since 1971 she has been at the top
in the production of films per year. Indian cinema has been ranked as one of India's
ten largest industries that produce an average of about two feature films per day (p.
145). Availability of films through video cassettes and television had facilitated the
entire scenario of documentary filmmaking and viewing. Today documentary film
production is accelerated.
Pakistan Film Industry
Gazdar (1997) has documented history of films in Pakistan and India.
According to Gorija, the film industry‘s first production was Dewan Sardari Lal's film
'Teri Yaad' (p. 20). The film was released on 2 September 1948, exact after one year
and 19 days of Independence of Pakistan. Before partition, Lahore was the third
biggest platform of film making in the sub-continent, consisted of many film studios
and many super hit films on the credit.
Rahi (2008) maintains that during the massacre of 1947 the studios of Lahore
were destroyed and the film industry faced a serious blow. However, Sayed Shokat
Hussain Rizvi established the first studio in Lahore named as 'Shah Noor' studio.
'Ever New' studio was established by Agha G. A. Gul and the process of film making
was set in motion. According to Mian (1975) it was in 1955 that late A Haroon
instituted 'Eastern studio' in Karachi and the film production started from Karachi as
well. 'International Studio' with the latest Laboratory equipment was constructed by
C. A. Raof. During the last 50 years, Pakistani film Industry has produced about four
thousand films. Most of them were Urdu, and then comes Punjabi, and Pashto
(Goreeja, 1998, p. 2).

37
Kabir (1968) writes that Bangladesh formerly known as East Pakistan made
first color film 'Sangam', first cinema scope film 'Bahana', first color cinema scope
film 'Mala' and the first film 'Karwan' prepared in foreign country. All these movies
were made in Dhaka. And this situation continued till 1971 when Bangladesh came
into being.
2.5 Documentary Film Genre in Pakistan:
The early documentaries after the establishment of Pakistan revolved around
the topics of migration. Owing to the poor infrastructure, film industry could not
flourish actively. Shereen Pasha, the first female documentary producer in Pakistan.
In 1985 Shereen Pasha produced 'Travelogue of Pakistan'. She started from Karachi,
Hyderabad, Bahawalpur etc, elaborating the culture there. Arif Malik worked with
Shereen Pasha as most experienced cameraman. Reversal cameras and Nagra tapes
were used Qaisar Ali Shah coordinated Shereen Pasha and joined Travelogue of
Pakistan in Cholistan. Another documentary of Shereen Pasha was "Walled city of
Lahore", the inner culture of Lahore. After that she produced another documentary in
which she covered lots of personalities.
The documentary series "Chanan Hi Chanan" consisted of 40 documentaries
was produced and directed by Qaisar Ali Shah. In 1986 he produced another series of
documentaries in which he covered Sufi personalities including Khabari Baba,
Abdullah shah ghazi, Abdul Latif Bhattayi, Lal Shahbaz Qalander, Rehaman Baba
etc. Zahir Bhatti produced "Still House of Fortune" documentary. "Lola Reet" a
Punjabi documentary produced by Qaisar Ali Shah is all about the poetry of Sufi saint
Sultan Bahoo.
38
Obaid-Ullah Baig from Karachi produced documentaries about history of
Pakistan. Nasaar Mirza produced documentary on Kelash. Qaisar Ali Shah was
bestowed ten years best producer award from United Nations collaboration 1987—97.
Australia conferred ‗Pride of Honor‘ to the documentary ‗The Ball Name Tango‘
produced by Qamar Aftab. It was based on the making of football which is exported
to South Africa by Pakistan. Salman Saed produced ‗Nights of Lahore‘, in which he
showed cultural activities of Lahore, and ‗Tareekhi Virsa‘ having 129 episodes series
of documentaries elaborates the marvelous architectural techniques. In 2006 he
produced ‗Nagri Nagri Ghom Musafir‘. He got award on ‗Nights of Lahore‘. Zia-ur-
Rhman senior producer also produced many documentaries. ‗Punjab Rang‘, ‗Mayras‘,
‗Zameen ka Zaher‘, ‗Mighty Indus‘ were produced by Zia-ur-Rehman Amjad. He
started in 1975, and got American award.
2.6 Academy of Motion Picture Arts and Sciences
Following introduction is retrieved from the Oscar website.17 The Academy of
Motion Picture Arts and Sciences is a professional honorary organization composed
of over 6,500 filmmakers whose achievements have placed them at the top of their
craft. The purposes of the Academy are to advance the arts and sciences of motion
pictures; foster cooperation among creative leaders for cultural, educational and
technological progress; recognize outstanding achievements; cooperate on technical
research and improvement of methods and equipment; provide a common forum and
meeting ground for various film-related crafts; represent the viewpoint of actual
creators of the motion picture; and foster educational activities between the
professional community and the public.
17
History of the academy. (n.d.). Retrieved June 18, 2009, from
http://www.oscars.org/academy/history-organization/history.html
39
The Academy‘s field of activity does not include economic, labor or political
matters. The Academy was organized in May 1927 as a nonprofit corporation. Its
original 36 members included production executives and film luminaries of the time.
Douglas Fairbanks Sr. was the first president. In 1946, Academy moved into a
building at 9038 Melrose Avenue in Hollywood. In 1988 a 55-year lease was arranged
with the City of Beverly Hills for the conversion of its historic Waterworks building
in La Cienega Park into the new home of the Academy‘s library and film archive, to
be called the Center for Motion Picture Study. In May of 2001 the Academy bought
the former Don Lee-Mutual Broadcasting studios on Vine Street in Hollywood and
began converting them into the new home of the Academy Film Archive and the
Academy Players Directory. During the Academy‘s 75th anniversary celebration in
2002, the La Cienega Park building was designated the Fairbanks Center for Motion
Picture Study in honor of the Academy‘s first president, and the building on Vine
Street was dedicated as the Pickford Center for Motion Picture Study in honor of
Academy co-founder Mary Pickford.
On the website of Oscar Awards detailed history of Academy Awards is
given. Academy Awards, popularly known as the Oscars, are presented annually by
the Academy of Motion Picture Arts and Sciences (AMPAS) to recognize excellence
of professionals in the film industry, including directors, actors, and writers. The
formal ceremony at which the awards are presented is among the most prominent and
most watched film awards ceremonies in the world (Academy Awards, 2008).
According to the rule five given on the website of AMPAS under the heading
‗balloting and nominations‘ explained that the members of the various branches
submit nominations in their respective fields however; all members have the right to
submit nominees for Best Picture. In a second round of voting the winners are decided
40
in which all members are then allowed to vote in most categories, including Best
Picture.
The website explains about the name that the root of the name ‗Oscar‘ is
contested. One biography of Bette Davis claims that she named the Oscar after her
first husband, bandleader Harmon Oscar Nelson (Essex, 1999). Another claimed
origin is that of the Academy‘s Executive Secretary, Margaret Herrick, who first saw
the award in 1931 and made reference of the statuette reminding her of her Uncle
Oscar. Columnist Sidney Skolsky was present during Herrick‘s naming and seized the
name in his byline, ‗Employees have affectionately dubbed their famous statuette
Oscar‘ (Levy, 2003). Both Oscar and Academy Award are registered trademarks of
the Academy, fiercely protected through litigation and threats thereof. According to
Rules 2 and 3 of the official Academy Awards Rules, a film must open in the previous
calendar year, from midnight at the start of January 1st to midnight at the end of
December 31st, in Los Angeles County, California, to qualify.
Academy Membership:
It is given on the website of Oscar18 regarding the membership structure, ―A
candidate for membership in the Academy is normally sponsored by at least two
members of the branch for which the person may qualify. Each proposed member
must first receive the favorable endorsement of the appropriate branch executive
committee before his or her name is submitted to the Board of Governors for its
approval.‖ Board of Governors invites members on behalf of Academy Branch
Executive Committees. Membership is not automatic, eligibility may be achieved by a
competitive nomination or a member may submit a name based on other significant
contribution to the field of motion pictures. Academy Award winners are usually to
18
The history and structure of the academy of motion picture arts and sciences. Retreived April 20,
2012, from www.oscars.org/press/presskits/assets/83presskit_06_history.pdf - 2011-01-04
41
join. Oscar‘s website explains about the membership, ―New membership proposals
are considered annually. The Academy does not publicly disclose its membership,
although as recently as 2007 press releases have announced the names of those who
have been invited to join. The 2007 release also stated that it has ‗just under‘ 6,000
voting members; though the membership had been growing until 2003, stricter
policies have kept its size steady since then.‖
Academy membership is divided into 15 branches, each branch then
represents different disciplines in motion pictures. Members whose work does not fall
within one of the branches may belong to a group known as "Members At Large."
List of the names of ‗Academy Board of Governors‘ for each year is displayed on its
website.19
2.7 Religions Appeared in the Documentaries: An Overview
Judaism:
The word ‗Judaism‘ is derived from the Latin word ‗Iudaismus,‘ derived from
the Greek ‗Ioudaïsmos,‘ and ultimately from the Hebrew ‗Yehudah.‟ It is one of the
oldest monotheistic religions. The Jewish People Policy Planning Institute reported
13.1 million Jews around the world till 2007, most of them were living in Israel and
USA. Judaism started almost 3500 years ago in Middle East. They believe in one
God, Mosses as the prophet and the founder of Judaism. Torah is their religious
scripture. Spiritual leaders are called Rabbis and worship places as Synagogues
(Judaism at a glance, 2009). According to Rabbinic God revealed his laws and
19
http://www.oscars.org/academy/history-organization/governors.html Retrieved May 20, 2012.
42
commandments to Mosses on Mount Sinai in the form of written and oral Torah
(Clinton, 2000).20
Jewish sects mostly developed during second temple up to tenth century.
According to Yaron (2012)21 ―The Roman occupation and the second Diaspora
created an environment of great hardship, out of which people tried to escape their
pain through religious zeal.‖ The compilation of Mishnah and Talmud after the the
second Diaspora gave rise to Jewish sects. The lower class Jewish settlers of Babylon
started rejecting Talmud as they were bound to pay double taxes; one to the
government and the other to the Nasi, who was their Jew representative. The Ananites
and the Karaites were among the groups who rejected Talmud. Karaites flourished in
the medieval period. Karaites believe that only the written Torah was revealed. They
determine religion through patriarchic continuation; means a Jew is someone whose
father is Jew, or who has undergone a formal conversion. However, the Karaites
accepted Tanakh as their legitimate text of Jewish law.
Sussman and Peled (1993) discuss the three Judaic sects in the period of Jesus
during the Second Temple; Sadducees, Pharisees, and Essenes. ―The Sadducees
included mainly the priestly and aristocratic families; the Pharisees constituted the Jay
circles; and the Essenes were a separatist group, part of which formed an ascetic
monastic community that retreated to the wilderness.‖22
Sadducees is the 1st century Jewish sect. They follow the Hebrew Bible
literally and discard the Pharisees notion of an Oral Torah. The Pharisees have been
20
Clinton, R. B. (2000). What is the oral Torah. Retrieved May 24, 2012, from
http://www.torah.org/learning/basics/primer/torah/oraltorah.html
21
Yaron, Y. (2012). A brief history of Jewish sects. Retrieved May 24, 2012, from
http://judaism.about.com/library/uc/uc_sects_d.htm
22
Sussman, A. & Peled, R. (1993). Scrolls from the dead sea. Retrieved May 24, 2012, from
http://www.jewishvirtuallibrary.org/jsource/History/deadsea.html#Essenes
43
politically, socially, and ideologically active among Jews in different periods of
history. However, the conflicts between the Pharisees and the Sadducees were class
related, cultural, socio-political, juridico-religious.
The Sabbatians emerged in the seventeenth century. According to Yaron
(2012) they are the followers of Shabbatai Tzvi, who proclaimed himself the Messiah.
Shabbatains are self-imposed crypto-Jews, also known as Dönme (Turkish word
means to turn). Frankists grew out of them. The Beta Israel is an ancient sect, believed
to be separated from the Jewish people for at least 2400 years. Recently, their
existence has come to light recently (Yaron, 2012). Their religious practices more
resemble to Biblical Judaism, than Talmudic.
Orthodox, Conservative, and Reform Judaism are the largest Jewish religious
movements. Orthodox Jews believe that Moses got ‗Torah‘ from God on the Mount
Sinai and Torah consists of 613 mitzvot (commandments) which binds the Jews
together. There are Orthodox Jews who follow the Jewish Law (Halakhah) and still
integrate in the modern society (Karesh and Hurvitz, 2006, p. 368-370). However,
those Jews who do not integrate into modern society and consider themselves Ultra
are Chasidic Jews. They can be differentiated from their dressing distinctive living.
Conservative Jews believe Torah written by God but contains human element
due to its transmission. They also believe that the religious text should be adapted by
absorbing cultural aspects however; it should also sustain Judaic values (Karesh &
Hurvitz, 2006, p. 98-99).
Reform Judaism believes Torah written and combined by different human
sources, rather by God. Reform Judaism rejects the obligatory nature of Halakhah
44
(Jewish Law). Reconstructionists are like Reformists however, they give more value
to community people in deciding the observances. Humanistic Judaism promotes
human centered philosophy and aims to revive the secular roots of Judaism
(Friedlander, 1988).
Jews are also grouped according to their geographical locations. Rich (n.d.)23
contends that the word Ashkenazic is derived from the Hebrew word ‗Ashkenaz,‘
which was used to refer to Germany. Ashkenazim refers to the Jews of European or
Russian origin, who mostly used to speak Yiddish in the past (Chua, 2004, p. 215).
Ashkenazim founded modern Israel however; largest immigration to Israel after its
independence was from Muslim countries. The word Sephardic is derived from
Hebrew word ‗Sepharad‘ which refers to Spain. Jews of Spain, Portugal, North
Africa, Middle East and their descendants are called Sephardic Jews (Friedlander,
1988, p. 120). Sephardim make up rougly 55 % of the Jewish population in Israel
(Chua, 2004, p 215). Mizrahi, in Hebrew, means ‗Eastern‘ or ‗Oriental.‘ The
descendants of Jews from Central Asia, Middle East, and Caucasus are called
Mizrachi. Their ancestary usually comes from Iraq, Iran, and Yemen (Solomin, n.d.).
According to Lewis (1999, p. 79-80), Ashkenazi and Sepharid are also
identified on the bases of ‗Jews of Christendom‘ and ‗Jews of Islam‘ ―both groups
bringing within them certain attitudes, habits, and cultural traditions from their
countries and societies of origin.‖ Chua (2004) contends, ―Sephardic Jews are said to
be darker and to look Arab whereas Ashkenazi Jews look European.
Israeli Jews mostly classify themselves as ‗hiloni‘ which means secular,
‗masorti‘ which means traditional, and ‗dati‘ or ‗haredi‘ which means religious.
23
Rich, T. R. (n.d.). Ashkenazic and Sephardic Jews. Retrieved May 24, 2012, from
http://www.jewfaq.org/ashkseph.htm
45
According to Australian Prayer Network24 (2012) religious trends in Israel are at
increase. A survey reveals that there were 46% secular Jews, 32% traditional Jews,
and 22% religious Jews in Israel by 1999. ―The survey results found a strong
correlation between a person‘s ethnic background and level of religiosity, with 67
percent of Ashkenazim (Jews with mostly European heritage) considering themselves
secular, compared to 73 percent of Jews with Mizrahi, or Eastern heritage, who
identify as traditional, Orthodox or ultra-Orthodox‖ (Network, 2012, p. 1).
In 1980s, United States Supreme Court declared that Jews belong to a race and
should be considered as a race, at least for the purposes of certain anti-discrimination
laws. Many Jews did not like this decision as it reminded the visions of Nazi
Germany, where they were called vermin and not to be a race. (Rich, 2011).
Christianity:
The word Christianity is derived from the Greek word Khristos, which means
Christ. Literal meaning of Christ is ‗anointed one‘ (Werblowsky, 2008). Christianity
originated in the Middle East; Israel and Palestine. Christianity is one of the
monotheistic religions, based on the teachings of Jesus of Nazareth and Old
Testament. Sleman (2008) maintain that Christians generally believe in Jesus as the
son of God. Trinity is the popular concept among Christians that means God as three
persons in one; God the father, God the son, and God the Holy Spirit (p. 22). The
Christian scripture is called the Bible that comprises of two books, the Old Testament
and the New Testament. Books of Catholics and Protestants are same in the New
Testament. However, during the Protestant reformation, Martin Luther removed seven
books from the Old Testament (Werblowsky, 2008).
24
Network, A. P. (2012). Survey reveals more Israeli Jews are expressing belief in God. Retrieved May
24, 2012, from
http://www.opentheword.org/index.php?option=com_content&view=article&id=5067:survey-reveals-
more-israeli-jews-are-expressing-belief-in-god&catid=250:israel&Itemid=212
46
According to Felix (2007) Christianity is generally broken into three branches:
Roman Catholicism, Eastern Orthodoxy, and various denominations of Protestantism.
In the 11th century, Orthodox and Catholic Churches divided due to the conflicts over
doctrine and authority that resulted in the Great Schism. During the Protestant
Reformation in the 16th century, Protestantism split from Roman Catholicism. Felix
(2007) writes that there are more branches including; ―Nestorian, Monophysite,
Orthodox, Catholic, Protestant, Anglican, Restorationist, Independent, and
Marginal.‖25 These branches are sometimes classified under denominations for
theological reasons. Felix (2007) mentions the following subdivisions of the main
branches.
Eastern Christians are the Eastern Orthodox, also called church of the east or
oriental orthodox. Eastern Orthodox and Roman Catholic both Churches find their
heredity in the foundation of Christianity. There are more than 200 million adherents
of Eastern Orthodox Church which is the second largest denomination in Christianity
(Felix, 2007). The Oriental Orthodox Churches comprises of six groups: Syriac
Orthodox, Coptic Orthodox, Ethiopian Orthodox, Eritrean Orthodox, Malankara
Orthodox Syrian Church (India) and Armenian Apostolic Churches. These six
churches, while being in communion with each other are completely independent and
not in communion with Eastern Orthodox Churches (Feuerbach, 2008).
Catholic Christians are Roman Catholic, broke away in 1870. They rejected
the decrees of Vatican Council about papal‘s infallibility. Another disagreement about
reforms in 1965 resulted in the separation of Progressive Catholics (Felix, 2007).
Catholic Church is administered under the Bishop of Rome in communion with the
25
http://catholic-resources.org/Courses/Christianity-Branches.htm
47
Pope. They have the authority in matters of governance of the church, morality and
interpretation of faith. Roman Catholic Church finds its origins to the initiation of
Christiany by Jesus Christ. The largest church in Christianity is the Catholic Church
that represents one sixth of the world's population, almost half of all Christians. It
aims to reconcile all churches of Christianity. (Feuerbach, 2008).
In the 16th century, Martin Luther, Huldrych Zwingli, and John Calvin started
Protestantism. Protestant Christians later on subdivided into different denominations.
The earliest were Lutherans and Calvinist. The Anglicans separated from the Roman
Catholic Church for political reasons. Therefore, they do not acknowledge the
leadership role of the Bishop of Rome, the Pope (Felix, 2007).
The Methodist Church grew out of Anglican and later subdivided into
different Pentecostal and non-denominational Churches. In the 21st century,
Christianity is the world's largest religion (David & Kurian, 2001). The Anglican
Roman Catholic International Commission (ARCIC) works towards full communion
among the churches.
Islam:
Islam was founded in Makkah in the year 622 by Muhammad the Prophet
(peace be upon him). It is one of the monotheistic religions and Muslims claim it to be
the final word in continuation of Judaism and Christianity. According to the Quran
(the sacred text), Islam was the religion of Adam, Noah, Abraham, Moses and Jesus
(Ajijola, 1998, p. 3). Muslims believe in all prophets sent by God, revealed books,
angles, resurrection, and the Day of Judgment. Quran is the sacred text revealed by
God and there is single version of Quran in the entire Muslim community. Muslims
believe that there is not a single and minute change in the text of Quran from the day
48
of revelation till to date. Hadith is the practical implementation and sayings of
Muhammad (peace be upon him). The five pillars of Islam are the basic duties of all
Muslims which include; to bear witness the basic affirmation of faith that Allah is one
and Muhammad (peace be upon him) is the last prophet; perform five prayer a day;
give charity (zakat) to the poor; fasting during the month of Ramadan; and perform
pilgrimage (Hajj) to Makkah if wealthy. Islam teaches that if a sinner sincerely
repents on his sin and submits to God, will return to a state of sinlessness. Racism,
adultery, gambling, alcohol etc. are forbidden (haram). Islam is the world's second
largest faith.26
After the death of Muhammad (peace be upon him) different sects started
emerging. Below are some of the major sects within Islam.
According to Myers (2005) Sunnis are said to be the largest sect, 1.3 billion
followers that constitute almost 85 percent of Muslim population. It is believed to be
the direct continuation of the faith as defined by Muhammad (peace be upon him).
The main belief is to follow ‗Sunnah‘ which is the record the lifestyle, practices, and
sayings of Muhammad (peace be upon him) also called ‗Hadith.‘
Shiite, another sect, is almost 10 percent of Muslim population (Myers, 2005,
p. 2). Shiite insists on the primacy of the Quran. They claim that Hazrat Ali, son-in-
law of Muhammad (peace be upon him) and the fourth caliph of Muslims, was the
only caliph and spiritual leader selected by Muhammad (peace be upon him) on his
deathbed. In Arabic ‗Shia‘ means group. Muslims who were with Ali‘s party called
Shiite.
During the fifth year of his reign Hazrat Ali was murdered and Shiites
formally alienated from other Muslim leaders recognized by the Sunni around 680.
26
A guide to Islamic sects. Retreived May 26, 2012, from
http://www.rickross.com/reference/islamic/islamic27.html
49
Myers (2005) maintains that ―A principal belief of the Shiite is that no caliph since
Ali has been legitimate. The movement became popular among disaffected non-Arab
Muslims who feared they were held in lower esteem within the faith‖ (p. 2).
Kharijis are less than 1 percent of Muslims population. The Kharijis broke
away in 658 by rejecting the interpretations of religious leaders regarding Quran and
Hadith. Alawi is a small branch that seceded from the Shiite in the 9th century. They
are found in Syria coast plain and constitute almost 1.5 million. Ismaili is a
subdivision of the Shiite sect that believes in living imam and the continuation of the
succession of spiritual leadership. Wahhabi is a religious movement initiated by
Muhammad ibn Abd al-Wahhab. It started in Saudi Arabia in the mid of 18th century
and rejected all innovations within Islam. Wahhabis believe in strictly enforcing
Islamic laws and demand severe punishments.

50
CHAPTER 3
Literature Review
Literature review provides a glimpse of the previous relevant studies to
encompass the various dimensions of the topic under study. It enables a researcher to
extend the prior study by providing intellectual insights into research methods,
theoretical frameworks and findings of the previous work.
In mass communication research, studies regarding influences on media
content are less explored (Shoemaker & Reese, 1991; Scheufele, 2000). Concept of
news media as gatekeepers triggered interest in this tradition. Hypotheses of selection,
distortion, replication, additivity, and complementarity explain the influences on
production processes (Galtung & Ruge, 1965; Sande, 1971; Peterson, 1979, 1981;
Bell, 1991; Harcup & O‘Neill, 2001). The concept of media as shaping and reshaping
realities suggests to explore the various influences on the production of media content
(Gans, 1980; Gitlin, 1980; Altschul, 1984; Shoemaker & Reese, 1991; O‘Reagan,
1996; Herman & Chomsky, 2002; Curran & Seaton, 2003; Allan, 2004; Gauntlett,
2005).
Curran (2002) discusses the role of media in making of modern societies. He
highlights the history developments, impact, and power of mass media. He maintains
that with the technological advancement and economic liberalization the economic
structure of media is transformed as ‗media contributed to the cumulative power of
the people.‘ Media has empowered people to set social structure. Curran‘s book
„Media and power‘ focuses upon the relationship of mass media and authority;
51
media‘s control over society; and society‘s control over media. He suggests that role
of media is crucial in changing orders and reshaping societies. Therefore, it is quite
appropriate to look into the discourses and depictions of religions and secularization
through media.
This study broadly encompasses the influences on media contents as the mass
media are extensions of powerful economic, social and political forces (Altschul,
1984). The study investigates the depiction of religions in documentary films in the
perspective of framing. Framing research is advanced through sociological or
macroscopic approach (Pan & Kosicki, 1993) and psychological or microscopic
approach (Fischer & Johnson, 1986). Macroscopic approach analyzes organizational
constraints that construct media frames. This study is tracing macroscopic approach
for the depiction of religions in Oscar documentary films. The researcher has divided
the literature review into the following aspects;
A. Religion and media
B. Depiction of Judaism, Christianity and Islam in films
The word "religion" is derived from the Middle English "religioun" which
came from the Old French "religion." It may have been originally derived from the
Latin word "religo" which means "good faith," "ritual," and other similar meanings.
Or it may have come from the Latin word "religare" which means "to tie fast (Encarta
World English Dictionary, 1999, p. 1587)." Religion is viewed from different
perspectives including, cultural, psychological, sociological, sacred, political,
anthropological etc.
Swenson (1999) defines religion in terms of the sacred, "Religion is the
individual and social experience of the sacred that is manifested in mythologies,
ritual, ethos, and integrated into a collective or organization"(p. 35).

52
Geertz (1966) defined religion as a cultural system, "A religion is a system of
symbols which acts to establish powerful, pervasive, and long-lasting moods and
motivations in men by formulating conceptions of a general order of existence and
clothing these conceptions with such an aura of factuality that the moods and
motivations seem uniquely realistic" (p. 26). Wikipedia27 defines religion as: "... a
system of social coherence based on a common group of beliefs or attitudes
concerning an object, person, unseen being, or system of thought considered to be
supernatural, sacred, divine or highest truth, and the moral codes, practices, values,
institutions, traditions, and rituals associated with such belief or system of thought. "
Verboom28 (n.d.) in his essay on mongolian religions provides an empirical
definition of religion, ―A set of beliefs and/or actions to regulate and approach reality,
expressed in: (a) doctrine, (b) philosophy, (c) myth, (d) symbol (e) ethic, (f) ritual, (g)
matter, (h) experience and (i) social organization, in some way related to spiritual
qualities, phenomena or entities.‖
Friedman (1999) explains the oldest story of human history, why Cain slew
Abel, from the perspective of his theology teacher Rabbi Tzvi Marx. The fundamental
rabbinic commentaries on the Bible give three reasons of the killing of Abel; over a
woman for the sexual fulfillment and procreation; over assets for the economic
development and material fulfillment; and for particular religious and cultural
identity. Friedman maintains that the story continues in the form of dominant
international system of globalization and he calls it the drama of ‗Lexus and the olive
tree‘ (p. 33-34). He applies it on the ‗conflicts between Serbs and Muslims, Jews and
Palestinians, Armenians and Azeris.‘ While explaining the importance of religion, he
quotes an interesting scene from Gabriel Garcia Marquez‘s novel ‗One Hundred
27
http://en.wikipedia.org/wiki/Religion Accessed 18-11-2007.
28
http://mongoluls.net/mongolian-religion/religiondef.shtml Accessed 18-11-2007
53
Years of Solitude.‘ The scene is about a village where people are suffering from the
disease of forgetfulness. A young man in the village, who is not affected, tries to limit
the problems caused by forgetfulness. He puts lables on everything like ‗this is a
table,‘ ‗this is a cow and it has to be milked every morning‘ etc. The young man puts
two sign boards at the entrance of the town. One reads ―the name of our village is
Macondo‖ and the other reads ―God exists.‖ The message Friedman gets from the
story is that if one forgets everything one learnt throughout life, it will bring no harm.
―But if we forget whom we belong to, and if we forget that there is a God, something
profoundly human in us will be lost‖ (Friedman, 1999, p 31-32). From the scene it
may be concluded that sense of belongingness and identity are the most crucial
aspects of human life. Media has the potential to treat and frame identities therefore it
can bridge or widen the gap among communities. .
Martin and Ostwalt Jr. (1995) in the introduction of their book explain that
representation of religion in films can be studied through different approaches;
theological, mythological and ideological which interpret the interplay of religion and
film. Dealing with the theological aspect, sacred texts serve as glimpses of religion‘s
doctrine. Mythology deals with the popular narratives and ideological aspect
confronts the political and cultural milieu.
3.1 Religion and Media
Albarran (2002) analyzed the structure, performance and strategy of the top
six media companies that are also called mega media or transnational media
corporations. Among the top six media companies include AOL Time Warner,
Bertelsmann AG, News Corporation, Viacom, Vivendi Universal and the Walt Disney
Company. These companies divisional structure consist of at least two or more media
54
related divisions and media activities account for at least half of the company‘s asset
base. Three companies including AOL Time Warner, Disney and Viacom are
American. AOL Time Warner is divided into seven segments; America Online,
Turner Broadcasting and Home Box Office, Time Inc. and Time Warner Trade
Publishing, Warner Music Group, Warner Bros. and New Line Cinema, Time Warner
Cable, and AOL Time Warner Interactive Video. These segments show the formation
of an oligopoly. Each firm is heavily engaged in creating and developing media
content, in many cases across a number of different platforms and mediums. All the
companies are also involved in production and distribution of motion pictures. All the
companies are doing repurposing that is the content produced in one arena is reused or
repackaged for other arenas. This strategy leads to the perpetuation of same
information and themes (Moellinger & Alan, 2002, pp. 103-122). Framing theory
helps to identify such repetitions and establishes the relation of such pattern with the
various influences on media content.
Findley (1989) discusses that Jewish lobby has control on almost every field in
US and media is one of them. This phenomenon proves a filter for negative projection
of Jews. Though the research in formalism has explored such patterns but the tradition
of realism is not much explored.
Norman Cantor, professor of history at New York University has documented
the history of Jewish culture and society. Cantor (1994) gives reference of Talmudic
rabbis who believe that Jews and non-Jews are not equal; non-Jews are belittled and
denigrated by receiving labels of goy, gentile, and heathen (p. 107-108). Therefore,
Jews were privileged and rewarded in various ways. He refers to the monopoly of
Jews on the distribution of alcohol in Poland and Ukraine. In the rural areas of Eastern
Europe, up to 85% of Jews were engaged in the business of alcohol. They

55
contemptuously treated their non-Jew buyers. Whenever a buyer approached them,
they sang in their Yiddish language, ―Shicker is a goy ... trinker muss er‖ (The Gentile
is a drunkard; he has to drink). In Ukraine, Jews got the right to use lands, humans
and animals of the Polish landowners. Cantor writes that due to the Jewish incredible
oppression, ―The Ukrainians had a right to resent the Jews, if not to kill them. The
Jews were the immediate instrument of the Ukrainians‘ subjection and degradation‖
(Cantor, 1994, pp. 183-184).
Huntington (1996) suggests that the ‗interaction of Western arrogance, Islamic
intolerance, and Sinic assertiveness‘ are quite dangerous. He says, ―At the micro
level, the most violent fault lines are between Islam and its Orthodox, Hindu, African,
and Western Christian neighbors; at the macro level the dominant division is between
the west and the rest‖ (p. 183). Huntington‘s study suggests a careful examination of
the discourses of orientalism and Occidentalism in order to avoid severe clashes. He
further explains ―The level of violent conflict between Islam and Christianity over
time has been influenced by demographic growth and decline, economic
developments, technological change and intensity of religious commitment‖ (p. 211).
Among other variables, the imprudent use of technological advancements and
mistaken adherence to religion is mentioned as the driving forces to violent conflicts.
This phenomenon calls for a careful study of religions, cultures, discourses of
secularization and the mediated communications.
Zakaria (2004) maintains, ―Over the last thirty years the most important
change in American religion has been the dispersion of power away from the
mainstream churches- Episcopalians, Methodists, Presbyterians- to broad, evangelical
groups with mass appeal‖ (p. 205). Due to egalitarian awakening, there are trends of
democratization in American religion. Media can facilitate socities to bring changes

56
as an instrumentalist. As pointed out by Zakaria, ―One institution remains to play the
role of mediator in American society: the press. It explains and interprets the world to
its public and its public to the world (p. 231). The democratization of information and
technology means access of an average person to any information. However, check
and balance in this transaction should be considered in order to avoid serious
problems.
Omer Afzal (1994) carried out a study on western media‘s biases against
Islam. He notes ―for several weeks in early 1993 the headline news often began like
this: Islamic fundamentalists, Muslim radicals, Muslim Arab terrorists, Muslim
extremists‖ (cited in Butt 2001, p. 18). Association of anti-social acts with religions
and particularly with Islam tends to create sterotypes. These stereotypes through
global media reach all over the world and cause to widen the gap between Muslims
and non-Muslims.
Noakes (2000) carried out a study of American media to analyze the
misunderstandings about Islam and Muslims. He maintains that media depictions of
Islam are widening the gap and impeding the process of understanding between
Muslims and non-Muslims. American media unually gives coverage to sensational
events of the Muslism world. He notes that news about Muslims usually consists of
the ―coverage of political upheavals, acts of violence carried out by extremist groups
claiming to act in the name of Islam, perceived threats to American national interests,
poor treatment of women, and outrageous human-rights abuses‖ (p. 286). The study
suggests analyzing other media contents for the depcitions of Muslisms and Islam in
order to manage escalating conflicts and understanding eachother.
Hussain (2000) in his research paper on ‗Islam, Media and Minorities in
Denmark‘ examines the role of Denmark‘s news media in formulating wrong

57
perceptions and biased opinions regarding ethnic minorities. Daily news flow on
ethnic issues in the dominant news media is analyzed through discourse analysis and
narrative structure of the content. Hussain concludes that the news media in Denmark
have played an important role in the (re)production of a prejudice discourse on ethnic
minorities (pp. 95-116). Such text influences on the discursive processes as the
insignificant social interactions between the minority population and minority groups
result in victimizing Muslim minorities.
Similar research carried out by Batool (2006) regarding portrayal of Muslims
in Indian movies proposed the same findings. She states, ―The cognitive frame of
reference through which members of the ethnic majority premise their arguments is
largely based on mental models of ethnic events that are constituted by media-
mediated themes and topics on minority issues in the daily news flow of the national
media‖ (p. 32). Media has emerged as the most significant tool to construct and
reconstruct realities and shape mental images. Consequently, the mental images effect
upon and are affected by reality surrounding the world.
Karim (2000) discusses the media coverage of Muslims and Islam after the fall
of communism to accommodate a new global conflict based on Muslims as ‗other‘.
He quotes Globe and Mail headline during the Gulf War, ―Cold war battle transferred
to Gulf‖ (p. 130). He says that this type of reporting depicts ‗North‘ as modern and
rational that has decided to defeat the ‗evil axes‘ that is essentially Islamic countries.
Dependence of Canadian print media on US, France and England assists to reproduce
the dominant discourses and reinforces the global perceptions and narrative on Islam.
"A significant part of the Canadian mass media's coverage of Muslim societies
involves an interpretation of Muslim responses to the North's, often American,
cultural, ideological, economic, and military influence over those parts of the world"
58
(pp. 14-15). Karim maintains that the power struggles in Muslim parts of the world
are depicted as rooted in religious, ethnic and tribal hatred not as ideological or
political struggles of the North. "The jihad model is the specific cognitive
macrostructure which presents the conflicts involving Muslims as caused by their
religion" (p. 159). Karim says that Islam is fast growing religion in many Northern
countries becoming second to Christianity. Islam is not a place over ‗there,‘ but a faith
increasingly shared by people who live ‗here.‘ There is a dire need of ‗informed
journalism‘ in the post September 11 scenario to resolve escalating tensions among
‗Us‘ and ‗Them‘.
Khan (2002) carried out a study regarding pictorial coverage of Muslim world
in Time and Newsweek magazines. Pictures and photographic images of the Muslims
were examined in the backdrop of the stereotypical images of Muslim women. The
theoretical framework was the images as a significant text that influence upon the
discourses and result into the reinforcement of stereotypical image of Islam and
Muslims. The period selected for the study was after the September 11 attack and the
method applied was qualitative and quantitative content analysis. The study
concluded that the photographic images toe the foreign policy of US regarding
Islamic countries to promote and execute American interest. The two most reinforced
stereotypes of the contemporary Muslim world after the September 11 attack were
Islamic fundamentalism and oppressed Muslim women.
Bordwell et al. (1985) explored the developments in the Hollywood film
industry. The study examined the reliance of Hollywood on a particular narrative style
due to the establishment of regularized industrial strategies, application of new
technologies, specialization of functions and divisions of labor. The study suggests
reduction of possible narrative strategies, styles, genre, and meanings that established
59
particular cultural meanings of cinema to the extent that marginalized other
alternative forms.
Barber (1995) contends that global capitalism as an ideology is the most
engrossed factor for nations. Distribution of US media products at global level and
domination of Hollywood products on world‘s cinema is challenging the frontiers of
local media markets as well as ideologies. He says, ―Hollywood is McWorld‘s
storyteller, and it inculcates secularism, passivity, consumerism, vicariousness,
impulse buying, and an accelerated pace of life, not as a result of its overt themes and
explicit story lines but by virtue of what Hollywood is and how its products are
consumed‖ (p. 97). Global media constructs social reality through simulations and
representations that influence upon identity construction and consumption experiences
to form global citizenship.
Perry (1998) explored the relationship of hyper-reality and global cultures in a
broader economic and political contexts. He maintains that media texts can be
explored in geographical, cultural, social, and discursive locations. With reference to
globalization of media and cultural identities, Barker (1999) views the wide range of
importing programs as a risk to local culture and media. Though the narrative
structures help the viewers to differentiate between the domestic and foreign
programs, the viewers are sometimes susceptible to dominant discourses. As the
position of the subject is always relative for the viewers and they determine it through
their regional, national, and global identities.
According to McLuhan (1964) "there is a basic principle that distinguishes a
hot medium like radio from a cool one like the telephone, or a hot medium like the
movie from a cool one like TV. A hot medium is one that extends one single sense in
‗high definition.' High definition is the state of being well-filled with data. . . . Hot
60
media are low in participation, and cool media are high in participation or completion
by the audience. . . . The hot form excludes, and the cool one includes" (pp. 121-125).
Film is a hot medium because it is full with information and low in
participation Documentary film appears to be a source of perception and general
understanding of the world it represents and the viewer begins to see the world
through the prism of the provided images.
3.2 Depiction of Judaism, Christianity and Islam in Films
Makarushka29 writes, ―Postmodern interpretations of religion locate its
significance in the creative process, religion becomes the engagement of individuals
and communities in making life meaningful.‖ In this way religion appears an essential
source to provide multiple truths that satisfy the queries regarding the origin, purpose
and end of human beings. Postmodern and ideological approaches to religion provides
us the means to analyze films related with religion from various perspective as images
are value laden; deal with the politics of representation and meaning making
processes thus prove to be cultural signifiers.
In a seminar on ―Cinema as a Critical Practice‖ at Frogner Kino, Oslo held on
8th November 2007, Pablo Lafuente, managing editor of ‗Afterall‘ (film magazine
from London), quoted Comolli and Narboni (1969) about the ideological aspect of a
film. ―Every film is political, inasmuch as it is determined by the ideology which
produces it (or within which it is produced, which stems from the same thing). The
cinema is all the more thoroughly and completely determined because unlike other
arts or ideological system its very manufacture mobilises powerful economic forces in
29
Makarushka, I. S. M. (1998). A picture‘s worth: Teaching religion and film. In Journal of religion
and film. Vol. 2(3) December 1998. Accessed on 24 th April, 2012 through
www.unomaha.edu/jrf/picture.htm
61
a way that the production of literature does not.‖30 However the films that relate
something about religion are broadly categorized in two ways; religious films, and
secular films. In the later ideology unconsciously permeates into the themes,
narratives, and artistic styles of the film.
Bird (1982) believes in the religious power of films and maintains that films
have the potential to convey the ideologies about a belief system He has used the term
"Hierophany," for manifestation of the sacred (p. 322).
A French film magazine Cahiers du Cinema published in its editorial in
October November 1969 issue about the ideological stance of films. Jean-Luc
Comolli and Paul Narboni, the co-editors of French journal view films as tools to
reflect ideology. They say that whatever the camera registers is vague, unformulated,
un-theorised, unthought-out world of the dominant ideology. Cinema is one of the
languages through which the world communicates itself to itself. Filmmakers
constitute the ideology in their production for their peculiar selective processes
including selective perception, attention, comprehension and retention influence upon
the production and consequently the stuff is filtered through their ideology.
Jean-Luc Comolli and Paul Narboni who also served as editors of the film
magazine ‗Cahiers du Cinema‘ in Paris maintain that film is essentially a tool to
reflect and affect upon ideology. ―So, when we set out to make a film, from the very
first shot, we are encumbered by the necessity of reproducing things not as they really
are, but as they appear when refracted through the ideology. The film is ideology,
presenting itself to itself, talking to itself, learning about itself. Once we realise that it
is the nature of the system to turn the cinema into an instrument of ideology, we can
see that the filmmaker‘s first task is to show up the cinema‘s so-called ‗depiction of
30
Comolli, J. & Narboni P. (1969). Cinema/ideology/criticism. Accessed on 9th May 2012, from
http://www.umsl.edu/~gradyf/film/cinemaideologycriticism.htm
62
reality‘. If he can do so there is a chance that we will be able to disrupt or possibly
even serve the connection between the cinema and its ideological function‖ (Comolli
& Narboni, 1969, p. 32).
Lyden (1997) conducted a research on how the popular films function,
religiously and culturally. He maintains that films are a construction of reality and a
reflection of the popular culture which produces and sustains them. From the popular
cultural approach, films are produced for the people as a response to their beliefs and
hopes by the technological industry. This approach helps to chalk out the mythology
of popular film and its contribution to the religion of popular culture. Contrary to this
approach is the idea of hegemonic discourse that influences society in negative ways
and supports the status quo of classist, racist, and sexist ideologies. From the
hegemonic perspective, films may support class, race, and gender structures which
deserve deconstruction. Films include religious symbolism, consciously or
unconsciously and may project a worldview that is held by few people. He concludes
that both the myth and the ideology are present in the film in an overlapping way that
provides the basis for meaningful life and action.
Bryant (1982) films create myths, icons, and values which are celebrated and
reinforced in a ritualized manner and sustain that very culture. Bryant discusses film
as a central ritual in our modern civilization. He says, ―As a popular form of the
religious life, movies do what we have always asked of popular religion, namely, that
they provide us with archetypal forms of humanity, heroic figures; and instruct us in
the basic values and myths of our society‖ (p.106).
Different research methods had been applied by the religious scholars to study
films including; semiotics, textual or formalistic methods, psychoanalytic methods,
ideological and political critiques, reader-response theories, genre and auteur studies
63
etc. However, the western theologians and historians of religion now are more
interested in a dialogism that can promote harmony within the bounds of diversity.
Kutty and Yousuf (1998) in their article ‗Hollywood's View of Arabs‘
Muslims‘ discuss the negative depictions of Arab Muslims in Hollywood films like
‗Not Without My Daughter,‘ and ‗The Seige.‘ Such media depictions are adding to
the incidents of anti-Muslim violence, discrimination, stereotyping, bias and
harassment as endorsed by the Council on American-Islamic Relations (CAIR). CAIR
reported an increase of 18 percent in such incidents as compared to the year 1996.
Kutty and Yousuf31 (1998) comment with reference to the report, ―Perpetuation of
such stereotypes and inaccuracies has the greatest impact on the most vulnerable; the
children. Growing up as a Muslim or Arab child in North America is a challenge in
itself without the added burdens imposed by the media and Hollywood.‖ It seems
necessary to study the patterns of depictions across media forms and contents to
promote peace discourses.
Butt (2001) in his study regarding Portrayal of Islam and Muslims in
Hollywood Movies examined the patterns of coverage through content analysis. The
study maintained that the Hollywood movies project a negative and biased image of
Muslims and Islam. Muslims were portrayed as brutal, violent and terrorists and most
of the Muslim countries were shown anti-American. According to the researcher the
perpetuated images of Muslims in Hollywood movies were; ―Muslims are not terrorist
but all terrorists are Muslims‖ (p. 41).
Paffenroth (2001) a professor at Villanova University, analyses the depiction
of Judas in seven best known Jesus films during 1927 to1988. All the seven films
carry characters of Jesus and Judas and produced in different time periods. The films
31
http://faisalkutty.com/publications/toronto-star/hollywoods-view-of-arabs-muslims/ Accessed on
May 6, 2012.
64
include ‗The King of Kings‘ (1927) directed by Cecil B. DeMille, ‗King of Kings‘
(1961) directed by Nicholas Ray, ‗Greatest Story Ever Told‘ (1965) directed by
George Stevens, ‗Godspell‘ (1973) directed by David Greene, ‗Jesus Christ Superstar‘
(1973) directed by Norman Jewison, ‗Jesus of Nazareth‘ (1977) directed by Franco
Zeffirelli, ‗The Last Temptation of Christ‘ (1988) directed by Martin Scorsese. Kim
Paffenroth intends to analyze the character of Judas from Matthew‘s perspective
though Mark, Luke and John have portrayed Judas as a negative character however
Matthew elaborated Judas character in a sympathetic manner. Kim concluded that
Judas is portrayed as a positive character that shows the ideological inclination of
filmmakers towards Matthew‘s version of Judas.
Levi (1999) has analyzed two autobiographical films of children of the Jewish
Holocaust survivors. The films include ‗Punch Me in the Stomach‘ and ‗Everything
for You‘. The former is directed by Deb Filler in 1995 and the later by Abraham
Ravett in 1989. Both Ravett and Filler are simultaneously writers, characters and
directors of these documentaries. Films are analyzed on multiple levels, artistic styles,
narrative structure and thematic style. Silence, absence of color and images of text are
conveying messages in subtle ways. The films highlight the identity of Jews in pre,
during and post holocaust period and how the stories about holocaust are transferred
to second generation by their parents that ultimately become an integral part of their
identity formation. These stories serve as fragments of selves (Jews), Ravett and Filler
try to unite these fragments.
According to Lefkovitz (1997) when children become the storytellers there is
a risk of child‘s manipulating the stories told by parents. Autobiographical films are
an attempt to combine audio and visuals in a controlled environment in which the
children of Holocaust survivors attempt to narrate the hidden realities and focus on
65
the theme of victims and survivors. As survivors, the narratives symbolize the ability
of Jewish people to cope up with unbearable circumstances and take up a privileged
position to be descendents of extraordinary parents. According to Ravett and Filler,
‗Jewishness is inextricably linked to physical performances and linguistic
performativity‘. Physical performance refers to the concept of acting out something
written by others, i.e. society dictates individuals how to react and behave and Jews as
victims and survivors of Holocaust get a particular dialect. According to Levi (1999),
―For many Holocaust survivors, one of the most difficult obstacles to overcome is the
simultaneous need to tell one‘s story and the awareness that language cannot convey
the horrors of experience.‖ The two autobiographical films provide an opportunity to
the holocaust survivors to ‗confront, articulate and ultimately resolve some of those
absences and fragments that are their holocaust narrative‘.
Documentary is a genre perceived by audience as true picture of reality or
providing glimpses based on realism. This perception on the part of audiences makes
documentary more significant and sometimes powerful tools of propaganda.
Marty (1997) proposed that films can serve to create a common worldview towards
religion by making audience conscious for inaccessible entities and realities. He
describes the process as "cinema awakens homo religious". Highlighting in films the
common mysteries and questions unaddressed in religions, may lead to develop a
common consensus about their very nature of beyond reasoning.
"It brings back to life the sense of mystery by making us love what is
not immediately perceivable, what is beyond appearance and evidence. It
suggests the invisible. . . . Thus, cinema binds us again with the poetic and
religious expression of humanity. .. . Everything that is human, every
relationship to the world and to nature, treated artistically by the cinema

66
becomes a poem, a tale, a re-reading, a proposal of meaning, a celebration - in
short, something that resembles a first religious step" (Marty, 1997, pp. 131-
150).
It seems to be too ideological as different religions have offered different
answers about the mysteries that are inaccessible through science.
Godawa (2002) in his book on Hollywood Worldviews: Watching Films With
Wisdom and Discernment explains the various philosophies of Christianity that
influence the writers and producers of Hollywood and becomes evident in their
production. He contends that there are two extreme positions to avoid in viewing
movies: the cultural anorexic, who avoids all movies; and the cultural glutton, who
almost always watches movies with little or no discernment or thought about the
content. Binary rhetoric of any religion provides the means of distinguishing good
from bad. The films under study bring forth the reality that how characters and stories
deal with the issues of sin, redemption, forgiveness and faith.
Godawa (2002) analyzed a number of latest mainstream American films
selected from fifteen years for Christian theology and approaches them through
existentialism and postmodernism. He critically investigates films for storytelling,
presenting worldviews and spirituality. He says that narratives are sometimes less
significant, ―The composition of a story leads a viewer through emotional and
dramatic experiences to see things in the way the storytellers want the viewer to see.
This is similar to the visual form, color and composition used by a painter to guide a
viewer‘s eyes and mind to see what the painter wants him to see‖ (p.67). He suggests
that audience should be aware of non-Christian values that come out from Hollywood
film industry. The essence of postmodernism in films is the rejection of any ultimate
67
reality and the loss of differentiation between right and wrong. The documentaries in
this perspective contribute to the social constructionist debate on religion.
Vaux (1999) in her book, ‗Finding Meaning at the Movies‘ discusses viewers
meaning making processes for religious references in films. With the perspective of
Judeo-Christian ideas she explores the various means through which filmmakers
communicate, such as symbolism, metaphor and visual design. He contends that one
can find religious meanings in films even in those that appear to be secular. She points
out subtle ways through which religion is communicated and psychological processes
involved in meaning making of a film on the part of audience. In connecting these
methods to several genres, he indicates how one can find religious meaning in fi1ms,
even in those that appear to be secular.
Film is a modern medium that can be effectively used to share information and
knowledge. It is a popular saying that eye is a window of the soul then documentary is
considered to be a window on reality. Film Council of America32 (2006) conducted a
research on films in religious education and the reports were presented in a
symposium held in San Francisco, California. A report dealing with the evaluation of
sixty years of 16 mm films 1923-1983, film usage for the promotion of religion was
analyzed. It was reported that in the beginning churches refused the idea of using
films for the religious education, however during the last fifteen years Church
workers have begun to take seriously the task of learning how to use film effectively
in their teaching program. This shows on the one hand the increased interest of people
in films as a mode of communication and on the other hand the significance of films
as an effective tool of communication. Different reports were presented in the
symposium. According to one research project carried out in New Haven,
32
Symposium on: Sixty years of 16 mm films 1923-1983. Retreived May 24, 2008, from
http://www.archive.org/stream/sixtyyearsof16mm00filmrich/sixtyyearsof16mm00filmrich_djvu.txt
68
Connecticut, revealed a high degree of learning on the part of fifth-grade children in
both of two test groups. One group used motion pictures and the other group used flat
or non-projected pictures. Both groups used the audio-visuals as a part of the regular
teaching program. Thus it may be concluded that communication through audio-
visual is more effective. Selection of film is very crucial to yield desired results. So,
several committees, composed of people‘s representative of the various interests of
the church, undertake a program of viewing based upon a standardized evaluation
procedure. Results of such viewings are sent to the National Council office and
published in monthly Evaluation Bulletins. Annually these bulletins are collated into
the Audio-Visual Resource Guide and classified according to the basic objectives of
religious education.
In the 1970s, Arab American academics like Edmund Ghareeb, Jack Shaheen,
and Michael Suleiman made strong connections between stereotypes of Arabs in
corporate culture and the issue of Palestine. They concluded that in order for the
dispossession of Palestinians to be supported by ordinary Americans, Arabs had to be
written off as either backward barbarians (who don't understand that colonization is in
their best interests) or violent terrorists (who deserve to be eliminated). The negative
image of Muslims has been reinforced for decades through movies and television
According to Ghareeb (1983), the term "Muslim fundamentalist" was not stereotyped
to convey negativity. However, Shaheen (1984) has documented thousands of
examples. He writes, ―Ever since cameras began cranking, Hollywood has produced
almost 1,000 movies which show Arab Muslims primarily as subhuman and in the
same way the Nazi cinema portrayed Jews. And what is disturbing about this
particular image is that it has become so ingrained in American psyches, not only here
but abroad since Hollywood movies go to more than 150 nations all over the world
69
and almost always in most of the films, the violence attributed to the Arab-Muslim
male is linked to Islam‖ (p.11). He maintains that in American television the villain of
choice today is the Arab. To be an Arab in America today is to be an object of
contempt and ridicule by television under the guise of entertainment. This anti-Arab
and anti-Islam image on entertainment manifests itself in the politics of America.
Religious scholar Armstrong (2000) suggests that the roots of negative
imagery lie far deeper. She contends,
Ever since the Crusades, the people of Western Christendom
developed a stereotypical and distorted image of Islam, which they regarded as
the enemy of civilization. The prejudice became entwined with European
fantasies about Jews, the other victims of the Crusaders, and often obscured
worry about the conduct of the Christians. It was, for example, during the
Crusades, Christians who had instigated a series of brutal holy wars against
the Muslim world, that Islam was described by learned scholar-monks of
Europe as an inherently violent and intolerant faith, which had only been able
to establish itself by the sword. The myth of the supposed fanatical intolerance
of Islam has become one of the received ideas of the West (Armstrong, 2000,
pp. 179-180).
Islam is perceived by the western non-Muslims as promoting intolerance and
violence. Many other studies propose the same findings. These ideas are perpetuated
through media contents and especially through fiction films. Rainey (1996) holds that
when film writers want to portray a terrorist, or someone who is threatening, they link
up Middle Eastern culture with the character by putting it in particular attire
associated with Middle East, giving an accent, and making it look like Arab. That‘s a
stereotype used often because it‘s very quick and easy. The formation and
70
perpetuation of such images is not only detrimental for the region but for the religion
as well. Since Middle East is thickly populated with Muslims so it is but natural for
the audience of such films to perceive Islam through a negative frame.
Goodstein (2001) in an article published in the New York Times opines that
film may prove an effective medium to develop general perceptions about the people
living in other parts of the world. Demographic and geographic patterns effect on the
agenda and contents of the media. He contends that Arab-Americans are quite
prominent in Hollywood movies as terrorists and villains. They are usually
represented in bad-guy roles that lead to the stereotyping. Media agenda and contents
are not the unconscious and non-deliberate actions of the producers and owners rather
reflect the ideologies and policies of the persons who control and own them.
Therefore, it can be concluded that the contents of films reflect a systematic bias
against Arab-Americans.
Karpov and Lisovskaya (2007) have researched on religious tolerance in
Russia and describe that supporting Muslims‘ right to practice their faith in a
predominantly non-Muslim community may or may not reflect the belief that Islam is
a religion of peace. Such an analytical distinction dissipates much haze in recent
public discourse that has often equated religious tolerance with respect and
sympathetic attitudes to other faiths. Whether or not and how strongly people‘s
unwillingness to put up with other faiths reflects religious disagreement, prejudice,
political considerations, or other factors is an empirical question. Such an
interpretation offers theoretical, conceptual, and methodological benefits.
Theoretically, this interpretation links religious tolerance with popular support for
pluralistic norms which social theory deems essential for democracy.

71
Lutz and Lutz (2004) view democracy and free press as encouraging terrorism.
Media is an important vehicle to carry messages therefore information circulated by
media can prove to be useful for terrorists and promote political violence. They
empirically testify their hypothesis that correlates modern democracies with the
promotion of terrorism. It is not any religion that is fueling the terrorism phenomenon
rather deprivations that motivate to achieve political ends by hook or by crook.
Elayan (2005), in her thesis regarding stereotypical image of Arabs and Arab-
Americans in Hollywood films explored the portrayal of Arab Muslims in seven
popular films released from 1994-2000. She quotes Shaheen, ―In an attempt to place
Islam in a category that Americans can understand, the media portrays images of
Muslims as belonging to a faith of 800 million people, consisting of strange, bearded
men,… in robes and turbans.‖33
Elayan selected only those movies that carry any Arab/Arab-American
characters are analyzed. A qualitative analysis of six movies examines specific
characteristics that are displayed by Arab/Arab-American characters. The movies
studied include True Lies, Executive Decision, the Siege, the Mummy, Three Kings,
and Rules of Engagement. In-depth analysis of the characteristics including speaking
with an accent, traditional/native attire, acts of hostility and aggression, affiliation
with terrorism, depictions as victimizers or victims facilitated the findings. She served
as primary coder and analyzed 108 scenes while the secondary coder analyzed 10% of
the total scenes for inter-coder reliability.
The study demonstrated frequent existence of negative portrayals of
Arabs/Arab-Americans in popular films prior to 9/11. The conclusions suggested that
33
www.google.com/ElayanY050305f.pdf
72
stereotypes were evident in films and detrimental to Arab/Arab-American races and
cultures. Such depictions end up in constructing peculiar identities.
Hollywood film ‗The Siege‘ that is apparently secular created a feeling of
unrest among the Islamic community because it portrayed Muslim Arab-Americans as
barbarians and terrorists. Hala Maksoud who is the President of the American-Arab
Anti-Discrimination Committee posted a complaint through an open letter to the
producers of the film. She wrote that film ‗The Siege‘ is sinister, dangerous and
provocative and radiates a negative impact on the millions of Arab Americans and
Muslims. It incites hate which leads to harassment, intimidation, discrimination and
even hates crimes against people of Arab descent. We had hoped that Hollywood
studios would cease demonizing Arabs and Muslims, so that our children can grow up
feeling safe and proud of their rich cultural heritage (Maksoud, 1998, pp. 1-2).
Shrivastava (1992) contends that in the modern age the media have been
turned into weapons of psychological warfare, which can justify a war and can
continue the war of minds described as low-intensity warfare without a formal
declaration of war prior to and even after the actual war. "Transnational media impose
their own way of seeing the world" and construct peculiar realities (pp. 172-183).
Mass media has always been very significant during wartime but in the present age its
importance is grown further. Film is a strong medium that can be categorized as low
intensity warfare alongside subversion, insurgency and psychological sabotage.
El-Farra (1996) writes that the distortion of Islam leads viewers to believe that
it is a mysterious religion prone to acts of terrorism, violence, and fanaticism. She
states that these themes are also maintained by the film industry. Contemporary films
present anti-Christian, anti-Jewish Arab dictators residing atop missile bases, armed
with nuclear weapons, plenty of oil, and lots of cash. Using Islam to justify violence,
73
today‘s reel mega-rich hedonists pose a much greater threat to the West, to Israel, and
to fellow Arabs than did their predecessors.
Seagrave (2004) writes that Hollywood film industry as it currently exists is
more intricately tied to Wall Street and Madison Avenue, more vertically integrated,
and sustains a mode of production that is more capital intensive than at any point in its
history. The commercial factor is doubly crucial because film projects are
increasingly dependent on product placement deals that can allay both production and
advertising costs. Documentary film is still facing the challenges of funding,
marketing and distribution system.
In the light of the literature review it is concluded that film is a significant tool
of shaping, reshaping, constructing, and restructuring realities. Filmmakers
(re)construct, (re)present and (re)structure realities that are widely accessible.
According to Edelman (1993) the social world is like a kaleidoscope of potential
realities (p. 232). Media plays an active role in determining when and how to evoke
certain realities depending on which observations are framed and categorized.
Literature review points out the patterns and directions of studies related to
film and religion. Formalist tradition is much explored regarding religion(s) and
particularly Islam however realist tradition needs to be examined in this respect. In
spite of all the endeavors the researcher could not find any study regarding religion
and documentary films in Pakistan.

74
CHAPTER 4
Theoretical Framework
The context of media globalization reenacts theories and researches that were
quite significant in the field of communication long ago. Media contents reflect
production processes and influences to a great extent. Theories help to analyze media
contents from different angles and dimensions. Major theories of media
communication have been explaining effects of media as the dominant thrust of media
research was ‗effects.‘ This study is focusing upon contents. Depiction of religions is
analyzed for secular discourses and social behaviors.
Religions permeate in the social scenario and influence on the occurrences at
micro and macro levels. Films have two ways to approach religion; films on religious
topics have a manifest relationship with religion, and secular films have a latent
relationship with religion. Films use religious imagery, symbolism, character, issue,
event for a variety of purposes. In this backdrop, Oscar-nominated and Oscar winning
films play the role of a mediator by setting standards and legitimizing debates.
4.1 Theory of Framing
A frame is a packaging of an element of rhetoric in such a way as to encourage
certain discourses and interpretations as to discourage others. Media frames organize
and structure social meanings. Goffman (1974) defined frame analysis as a study of
the ‗organization of experience‘ that explains the subjective involvement of
individuals. Frames direct the representation and perception of reality thereby serve as
75
basic cognitive structures. Goffman (1974) argues that frames are not consciously
manufactured however in a communication process frames are unconsciously
adopted. Primary frameworks decide and transform the reality of natural or social
world. According to Goffman what people do is guided by their desired or expected
result of the action. However Goffman‘s study of frame analysis does not offer an
operational or explicit measurement.
Entman (1993) suggests that framing deals contents at two levels; at first stage
it addresses different aspects of the selection of contents, and at second stage it
addresses the issues of salience. Therefore, framing means selection of some aspects
of perceived reality and attaching significance to them through technical treatment.
According to Entman salience attached to a text, helps ―to promote a particular
problem definition, causal interpretation, moral evaluation, and/or treatment
recommendation for the item described. Frames, then define problems, determine
what a causal agent is doing and costs and benefits usually measured in terms of
cultural values; diagnose causes, identify the forces creating the problem; make moral
judgments, evaluate causal agents and their effects; and suggest remedies, offer and
justify treatments for the problem and predict their likely effects‖ (Entman, 1993, 55).
Framing refers to social construction of a social phenomenon by mass media
sources. Researchers use the term of ‗framing‘ to refer to how an event is portrayed
in a particular way. Hackett (1985) pointed out that “framing is not necessarily a
conscious process on the part of journalists; it may well be the result of the
unconscious absorption of assumptions about the social world in which the news must
be embedded in order to be intelligible to its intended audience” (pp. 262-263).

76
Media has the power to frame issues, events, and situations in various manners
with lexical choices and other techniques. Fairhurst and Sarr (1996) suggest three
elements of communication framing; language, thought, and forethought (p. 21). They
identify five language tools for framing: metaphor, jargon, contrast, spins, and stories
(p. 100). These tools facilitate to investigate thematic and narrative structures of
documentary films under study.
Documentary falls in the tradition of realism and Hackett‘s statement fits on it
as well. Filmmakers‘ own assumptions, perceptions and understanding about the
social world serve as a constraint in their creativity and subject treatment. It is an
inevitable process of selecting codes to construct social realities. Since a documentary
filmmaker chooses a particular issue and shoots from a peculiar angel or dimension
that helps to construct reality in a desired manner. A variety of thematic and
schematic structures to depict an issue or subject are available to a documentary
filmmaker. Juxtaposing, sequencing, diegetic and non-diegetic sounds, camera angels,
shots, and lights, helps in building frames. Selection of mode for a documentary
filmmaking also facilitates the framing process. Voice of authority mode gives
maximum freedom to a filmmaker to depict a subject according his frames. Voice
over is a narration by the filmmaker, facilitated by selective archive footage, video
clippings, and non-diegetic sound. All these elements contribute in developing,
extending, bridging and transforming frames. Temporality issues, time management,
overall coverage to a subject, context, release time and prevailing circumstances are
the factors that not only influence the frame building but also affect the frame setting.
Frames are always developed on already existed cultural codes (Gamson &
Modigliani, 1989). There are four processes through which frames become aligned
among each other; frame amplification, frame extension, frame transformation and
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frame bridging. Frame building and frame setting for certain religious discourses is
approached through frame apmlification, frame extension, frame transformation and
frame bridiging.
Media frames have been defined as ―a central organizing idea or story line that
provides meaning to an unfolding strip of events. …The frame suggests what the
controversy is about, the essence of the issue‖ (Gamson & Modigliani, 1987, p. 143).
Journalists shape or frame contents that serve to initiate public debates and influence
the level of readers‘ information (Gamson, et.al. 1992). Documentary filmmakers also
shape and frame issues, events and/or individuals. In addition to the frames developed
by filmmakers, Oscars act as gatekeepers and emphasize or exclude certain discourses
at international level. Nomination and winning an Oscar gives much salience to a film
as compared to others. The films viewership and demand increases throughout the
world. It can be said that Oscar-winning and Oscar-nominated films promote certain
discourses throughout the world at the cost of others. This study is based on the
concept of frame-building and frame-setting and analyzes frame amplification, frame
extension, frame bridging, and frame transformation in each chapter of the DVDs
regarding religion(s). DVD version of a film is selected for this study because the
filmmakers submit DVDs to apply for Oscar.34
34
Rule Twelve: Special Rules for the Documentary Awards. Retreived May 20, 2012, from
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CHAPTER 5
Methodology
5.1 Introduction
In different traditions of the documentary film, acting styles, light, sets,
objects and character placements within the films is another way of attempting to
discover if the film is more realist or formalist. This study is addressing Oscar-
nominated and Oscar-winning documentary feature films that depict religion in
manifest or latent manner. Quantitative and qualitative approaches to analyze content
are adopted to make valid inferences. Said (1979) argues, ―No one has ever devised a
method for detaching a scholar from the circumstances of his life, from the fact of his
involvement (conscious or unconscious) with a class, a set of beliefs, a social position,
or from the mere activity of being a member of society‖ (p. 10). Therefore, neutrality
cannot be claimed. However, the researcher has tried to attain objectivity to the
optimum level.
Holsti (1969) define content analysis as, "any technique for making inferences
by objectively and systematically identifying specified characteristics of messages"
(p. 14). The domain of content analysis is very vast as it is not only applied on the
coding of written messages but also on the coding of recorded messages and coding of
actions in videotapes (Stigler, Gonzales, Kawanaka, Knoll, & Serrano, 1999). Content
analysis is a useful technique to explore the focus of individual, group, institution or
social attention (Weber, 1990). Since this study aims to investigate the focus of
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filmmakers in the depiction of religion-related themes and issues, content analysis is
applied to study the Oscar documentary films.
5.2 Framing of Religions: A Quantitative Analysis
Quantitative content analysis is a systematic assignment of content to
categories according to rules and the analysis of relationships involving those
categories by statistical methods (Riffe, et.al. 2005, p. 23). Quantitative study is
conducted to make objective, systematic and valid inferences about a religion‘s
depiction in a film. Overall theme constructed through sub-themes and technical
treatment of the film helps to explore relationship, if any, between the film selection
by Oscar and the filmmaker. Characters are studied on the criterion of religion and
their frame building is analyzed through their religious practices, pro-social and anti-
social behaviors, on-screen time, dialogue time, gender, documentary mode selection
and types of shots applied on the characters to depict them. Followers of a religion
can be of two types; practicing and non-practicing. The study of the depiction patterns
of practicing and non-practicing followers of any religion can entail interesting
findings.
Quantification of the observable contents is helping the researcher to test the
hypotheses. As secularization is a dominant discourse and considered an ideal for the
attainment of peace and development. According to Casanova (2007), secularization
theory actually consists of three different theories; secularization as the segregation of
secular spheres from religious standards and institutions; secularization as a decline of
religious beliefs and practices; and secularization as marginalization of religion to a
privatized sphere. Secularization, in terms of a decline of religious beliefs and
practices is studied and further evaluated in the perspective of pre and post 9/11. The
first hypothesis is regarding the decline in religious practices and promotion of secular
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discourses. Prominence of secular and religious discourses is studied quantitatively.
Prominence of participants on the criterion of practicing and non-practicing followers
is also measured in quantitative manner.
In the light of the literature review, it is concluded that the discourses of
Muslims as ‗extremists‘, ‗terrorists‘ and ‗militants‘ are getting more popularity after
9/11 and affecting the image of entire Islamic world. It seems interesting to
investigate the image/(re)presentation of the followers of different religions. Since the
data of followers can be further investigated across gender as an additional finding,
the researcher has analyzed the same. The second hypothesis is about the image of
followers depicted in Oscar documentary films. Image is operationalized in the form
of behaviors. Participants are observed for their pro-social and anti-social behaviors.
It is significant to understand and describe the ‗context‘ in order to make the
documentary films more meaningful. Documentaries are influenced by context and
influence upon context. Therefore, quantitative data is also analyzed in the context of
pre and post 9/11.
The above mentioned quantitative approach for the content analysis is helping
the researcher to observe religion-related Oscar documentary films in an objective,
systematic and measureable properties. However, quantitative and qualitative
approaches are combined to get the answers of research questions. Later part deals
with the qualitative approach applied in this study.
5.2.1 Research Questions and Hypotheses
In media analysis, analyst is always comparing and evaluating representations,
in terms of what they include and what they exclude, what they foreground and what
they background, where they come from and what factors and interests influence their
81
formulation and projection, and so forth. The choices made by the filmmakers,
directors, network executives, distributors and promotional organizations/institutions
determine what information is selected, what discourses are promoted, and the way
discourses are treated. Selection of the subject for a documentary film by the
filmmaker is never neutral. It is always driven by the objectives, affected by the
intentions and immersed in the understanding of the filmmaker. The simple choice of
one documentary film over another is as much an ideological and political choice as it
is professional. It determines what values and ideas will take precedence in the
general discourses. Since the study is dealing with the depiction of religions in Oscar
documentary films, the following research questions are phrased to explore different
aspects of the study.
RQ 1: Is there any difference in the prominence given to the followers of
different religions?
RQ 2: Do the non-practicing characters in Oscar-winning and Oscar-
nominated documentaries get more projection regarding ‗on screen time,‘
‗dialogue time,‘ number of dialogues and eminent shots as compared to
practicing characters?
RQ 3: Is there any difference in the prominence given to the followers of
different religions before and after 9/11?
RQ 4: Are the non-practicing followers of any religion getting different
depictions with reference to prominence in Oscar documentary films?
RQ 5: Are the non-practicing followers of any religion depicted with pro-
social behaviors in Oscar-winning and Oscar-nominated documentaries?
RQ 6: Are the practicing followers of any religion depicted with anti-social
behavior in Oscar-winning and Oscar-nominated documentaries?

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RQ 7: Are there more male followers of any religion depicted with pro-social
behavior as compared to female followers in Oscar documentary films?
All the above stated questions are addressed through quantitative data for the
following hypotheses:
H1: Non-practicing followers are more prominent after 9/11 as compared to
the practicing followers that indicates increased trends of secularization.
H2: Followers of Judaism are associated with positive image as compared to
the followers of other religions in Oscar documentary films.
H3: Interference of filmmakers is high in religion-related documentary films
after 9/11.
5.2.2 Universe
Universe of this study is all the Oscar-winning and Oscar-nominated
documentaries from 1997 to 2006. A complete inventory of the documentaries is
available on Academy Awards website. Each year five documentaries are nominated
for the Oscar and one gets award. Therefore, universe of this study is clearly pre-
defined, comprising of fifty documentaries in total
5.2.3 Sampling
The period selected for the study is a decade, starting from 1997 to 2006, the
most recent decade for Academy Awards that consists of pre and post 9/11 scenario.
Since five documentaries are nominated for Oscar and one gets the award each year,
the total population is fifty documentaries. A complete inventory of the documentaries
is accessed through Academy Awards website and the sample is selected from the list
of the Oscar-winning and Oscar-nominated documentaries from 1997 to 2006. The

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sampling technique applied to select the study sample is ‗purposive sampling‘.
Purposive sampling is also called as purposeful sampling or judgment
sampling (Patton, 2002, p. 230). The logic and power of purposive sampling lie in
selecting information-rich cases for in-depth study. Information-rich cases are those
from which one can learn a great deal about issues of central importance to the
purpose of inquiry. Purposive sampling enables a researcher to study information-rich
cases in order to gain in-depth understanding rather than empirical generalizations. In
purposive sampling method, the criterion sampling technique is applied to select the
films. Criterion sampling facilitates a researcher to review and study all cases that
meet some predetermined criterion. Since the study deals with religion‘s portrayal so,
predetermined criterion is the presence of a believer (character) of any religion who
exhibits religiosity and/or an issue, idea, sign related with religion and/or a religious
interpretation of any event, phenomenon or issue.
Google video, YouTube and archive.org is used to locate the available
documentary feature films, chunks of the films for the pilot study. In some cases
complete documentary film is available on the internet however, the major portion
and chunks of all documentaries are available on ‗YouTube‘ as well. Overview of the
films along with commentary of media persons, plot summary and external reviews
helped the researcher to select the films according to the predetermined criterion.
Other related material on the Google video is also studied for the double check.
For the application of purposive sampling, only those films are selected that
carry anything about religion(s). A character who exhibits affiliation with any
religion, any symbolism, an image, an event or issue related with religion indicates
the relevancy of the film. After a careful and critical study of all the fifty documentary
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feature films, the researcher selected thirteen documentary films which met the above
mentioned criterion. The sample is as follows:
1. Jesus Camp (N) (2006) Heidi Ewing & Rachel Grady
2. My Country, My Country (N) (2006)
3. Iraq in Fragments (N) (2006)
4. Deliver us from Evil (N) (2006)
5. Darwin‘s Nightmare (N) (2005)
6. Twist of Faith (N) (2004)
7. Prisoner of Paradise (N) (2002)
8. Promises (N) (2001)
9. Into the Arms of Strangers: Stories of the Kindertransport (W) (2000)
10. One Day in September (W) (1999)
11. The Last Days (W) (1998) James Moll, Steven Spielberg, June Beallor, Ken
Lipper
12. The Long Way Home (W) (1997)
13. Waco: The Rules of Engagement (N) (1997)
5.2.4 Unit of Study
Films can be analyzed at different levels; frame, shot, scene, film, and
institution (Ostbye, 2003). Frame is the micro unit of the film that can be analyzed for
the contents it holds in terms of the evident and the hidden. ‗Mise en scene‘,
everything within the frame of any given shot, is one way of examining the use of the
camera and directing techniques. Camera movement is very significant because
sometimes camera acts as audience and in subtle ways successfully manipulates the
attention of audience. Methodical and profound analyses are facilitating the researcher
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to conclude different aspects of the depiction of religions in documentary films. As
mentioned above, unit of study for films can be frame, shot, scene film and institution.
This study aims to explore and investigate interrelationships of Oscar documentary
films and religions. Since the findings will assist the researcher to conclude something
about films therefore, unit of study is film.
5.2.5 Unit of Analysis
The content analysis technique authorizes a researcher to make an objective,
systematic and quantitative description of the content under study. Appropriate
content for the analysis of religion in this study is follower of any religion that
appears in the documentary. Participants (characters) in the documentary films are the
unit of analysis for the quantitative content analysis.
5.2.6 Categories and Coding Scheme
Secularization and religiosity are the two variables studied through non-
practicing and practicing followers. Secularization as defined by Jose Casanova
(2007) reflects three different theories; secularization as the segregation of secular
spheres from religious standards and institutions; secularization as a decline of
religious beliefs and practices; and secularization as marginalization of religion to a
privatized sphere. This study is focusing on the second theory that is; secularization as
a decline of religious beliefs and practices among followers of religions. Therefore,
followers are further divided into two categories; practicing and non-practicing.
Practicing participants are observed for their prominence/marginalization as compared
to non-practicing followers.
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Quantitative content analysis involves numeric values assigned to represent
measured differences (Riffe et.al. 2005, p. 31). Since the patterns of secularization or
religiosity are observed through characters, participant of a documentary (character) is
the unit of analysis used for the quantification of observations. Participants are
observed on two main categories; followers of any religion and non-followers. While
studying the category of practicing and non-practicing followers, the focus is on the
prominence or marginalization of the participant (character). Prominence of non-
practicing followers as compared to practicing followers with their religious symbols
or practices means an inclination towards secularization. Prominence is an index score
of the following four variables;
1. Participant‘s on-screen time
2. Participant‘s dialogue time
3. Number of dialogues of a participant
4. Shot type used to depict a participant
The leading participants are observed on the category of practicing and non-
practicing followers of a religion. The more a practicing or non-practicing participant
gets on-screen time, dialogue time, number of dialogues, and a particular shot, the
score of prominence will be high. Dialogue time and on-screen time of the
participants is converted into minutes and compared against the averages of practicing
and non-practicing participants of any religion. Average dialogue time and on-screen
time of a religion‘s followers is further compared across the religion categories.
Furthermore, participants are observed for the number of dialogues they delivered. As
human beings have different pace of conversation, it seems appropriate to evaluate the
participants for the number of dialogues (conversation) they delivered. A participant
may get more time but says little and another participant may get less time but shares
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a lot of views. Therefore, participants‘ prominence is approached through their
dialogues number.
Shots are observed on a five point ordinal scale. Big close-up means
maximum score of prominence and extreme long shot means minimum score of
prominence. Shots are measured on a five point scale; big close-up, close-up, mid
shot, full shot, long shot are assigned five to one scores respectively. A composite of
all the four variables is determining the level of prominence. Prominence is an index
score of the four variables mentioned above and the followers of religions, including
practicing and non-practicing, are observed.
Participants (characters) are further analyzed on the category of behaviors.
The category of behavior is divided into two; pro-social behavior and anti-social
behavior. The variables of the categories are further operationalized to ascertain valid
inferences, objective and reliable data from the coders. Pro-social behavior is
measured at five-point nominal scale;
a) Patriotism
b) Honesty (accuracy, transparency, uprightness, fairness)
c) Support to noble cause (good, brotherhood, cooperation)
d) Civic obedience
e) Peace loving (tolerance, patience)
Disposition of any of the above-mentioned behavior is considered as pro-social. The
more a participant gets points for pro-social behaviors, the more points he earns.
Anti-social behavior is measured on another five point nominal scale that
include;
a) Disloyalty
b) Dishonesty
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c) Discouraging noble cause (non-cooperative towards good)
d) Civic disobedience (violation, disobedience)
e) Hostile (intolerant, impatient, aggressive)
Disposition of any of the above-mentioned behavior is considered as anti-
social. The more a participant is depicted with anti-social behaviors, the score is high.
Earning fewer points means low level on anti-social behavior. The leading and main
participants are noted for their behaviors and they are compared with followers of
other religions and within the religion.
The data was collected for the above mentioned categories. However, to
eliminate biases, followers of the three religions that are depicted in the films under
study served as coders for this study. To eliminate the biases, researcher and the
coders observed all the followers for their behaviors. There were six coders
altogether, two from each religion including Judaism, Christianity and Islam. Among
the Jew coders, one was a rabbi in Poland and the other was a simple follower in
Norway. Both were contacted in 2007 and provided data later on. Among the
Christians, one was a priest as well as a student of International Relations in
University of the Punjab and the other was a simple follower of Christianity and a
student in the Institute of Communication Studies. Among the two Muslim coders,
one was a student of Kinnaird College and the other was a student of Institute of
Communication Studies. Coders were provided with the coding frame and protocol
sheet to note down characteristics of the followers.
5.2.7 A Qualitative Analysis of Religion-related Discourses
Critical discourse analysis (CDA) is a technique that helps a researcher to
study political ideologies and perspectives in the context of socio-cultural practices

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and text production and text consumption patterns (Fairclough, 1989, 1992, 1995a,
1995b, 2003). Language, shared meanings and consciousness facilitate to understand
a context. CDA focuses on three different dimensions of a communicative event; text,
discourse practice, and socio-cultural practice. Text dimension or the textual analysis
pertains to linguistics. Ferdinand de Saussure demonstrates the arbitrary nature of the
linguistic sign, consisting of index, icon and symbol, documentary apparently
approaches from icon to indexical access to the real by symbolizing the whole
process.
Discourse analysis is related to inter-textual and inter-discursal analyses. Inter-
textual analysis elucidates the consumption of a text within a text while inter-discursal
analysis explicates the format and structure of a text. CDA as propounded by
Fairclough approaches text from various dimensions and at different levels.
Fairclough (1992, p. 64) adopts the approach of French discourse analyst and defines
inter-textuality as the instance where specific other texts are used in a text (quotation
marks and reporting clauses) while inter-discursivity deals with the question of how
discourse type is constituted (format); its focus is on discourse connections rather on
other texts as constitutive (an example of inter-discursivity is mixed genre). As
mentioned above CDA addresses three dimensions of a communicative event; text,
discourse practice, and socio-cultural practice. Discourse practice provides means to
find the traces of production process and explore the indications of how the text could
be interpreted. Socio-cultural practice involves social conditions relating to three
different levels; the level of social situation, the level of social institutions and the
level of society as a whole.
Several studies of Van Dijk (1983, 1985, 1988a, 1988b, 1991, 1993, 1995,
1998, 1999) explore issues of ideology and its production in the media through
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discourse analysis. He views text, discourse practices and socio-cultural practices as
important ideological representations that are socially produced. These
representations usually ―express or signal the opinions, perspective, position, interests
or other properties‖ (Dijk, 1991, p. 112).
In this study the qualitative analysis of the documentary films is based on the
coding frame that addresses films at two levels; text, and discourse practice. The
coding frame model is drawn from the study ‗Analysis of Moving Images‘ (Rose,
2003). Rose analyzed the depictions of the concept of ‗madness‘ in television news.
Documentary film belongs to the ‗realism‘ tradition,‘ it seems appropriate to apply the
framework of Rose‘s study. She formulated her coding frame at four levels; scene-
setting, narrative description, explanation, and resolution. However the coding frame
is amended in the light of researcher‘s theoretical framework to make it compatible
for the documentary film analysis. For the qualitative study, the researcher has
focused her study on three levels and devised her coding frame as follows; narrative
structures, scene-setting, and dialogues in their respective modes. For deep and
thorough analyses of a film, it is necessary to divide a film in manageable chunks. For
a careful and critical examination of a film, chapters of the DVD are analyzed. A
chapter/scene is defined by DVD version of each of the films because the DVD menu
provides a choice to select a scene/chapter. It is also facilitating the researcher to
analyze a film in stages without manipulating the content. According to this provision
of DVD all the chapters are selected for analyses to achieve standardization and
maintain consistency across the films. Moreover, to apply for an Oscar, documentary
films are submitted in DVDs.35
35
Rule Twelve: Special Rules for the Documentary Awards. Retreived May 20, 2012, from
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The study of narrative structures demands an exhaustive and thorough study of
all the religion related films to determine grand narrative. Three level coding frame is
helping the researcher to explain the context, text and production treatment given to a
film. Coding frame is applied on all the chapters of the DVD as discontinuity in
narratives can distort the embedded meanings.
In the researcher‘s coding frame, the first level is narrative structures that are
further divided into two; thematic structures and schematic structures. Thematic
strucucture of the film, studied through the chapters of the DVDs, includes title and
timing of each chapter. Title of the chapter of a DVD reflects lexical choices and
framing by a filmmaker. It seems necessary to explain content and themes of a
chapter in the light of the title to understand the frame building process by the
filmmaker. Duration of a chapter contributes in the frame building as it is controlled
and determined by the filmmaker, therefore, included in the thematic structures. The
second level is scene-setting that is further studied with three aspects, as given below.
Character/participant selection is totally controlled by the filmmaker that determines
direction and treatment to the topic/issue being depicted. Since texts can be
constituted both verbal and non-verbal ways. Inherent and non-inherent sounds also
constitute text. The study of non-diegetic sounds is providing an opportunity to
analyze frame building by the filmmaker. Therefore, diegetic and non-diegetic sounds
are also studied. Non-diegetic sound can strengthen or weaken a participants‘
argument or conversation. It facilitates a filmmaker to treat an issue, event, theme,
and/or participant. Non-diegetic sound can be accommodating or non-accomodating
to a theme of a chapter. Non-diegetic sound is noted for all the chapters to determine
the role of filmmaker in the schematic structures. However, non-diegetic sound is

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measured on a quantitative scale. Schematic structure is based on the analyses of three
aspects as mentioned below.
Narrative Structures
a) Thematic structures
i. Title of the chapter
ii. Duration of the chapter
b) Schematic structures
i. Juxtaposing of character/issues
ii. Sequencing of the chapters
iii. Non-diegetic sound
The second level is scene-setting that is based on the analysis of the selection of
participants and religion-related issues highlighted through the participants. The
conversations of the participants are quoted as an evidence where necessary for the
further explanation and to make the analysis interesting. Dialogues of the participants
and lexical choices provide an opportunity to explore religion-related matters.
Therefore, lexical choices of the participants are studied to make valid inferences
about the text. Archive video footage as a testimonial to the participants‘ dialogues
makes a big difference. It depends on the filmmaker to focus on providing evidence to
the participants‘ views, opinions, statements or to destablize participants‘ desourses.
A documentary filmmaker can be a propagandist due to this factor or can serve as a
prosecutor by juxtaposing two oppositional discourses. Scene-setting explains how a
particular religion/religious practice/adherent is framed; positive, negative, neutral.
Scene-setting is approached through three elements as given below;
Scene-setting
a) Participants
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b) Issues/sub-themes
c) Conversations/dialogues
Third level of analysis is modes of documentary. Modes are observed for the
depiction of the participants/characters and their dialogues. Dialogues in a particular
mode are also observed and compared with dialogues depicted through other modes.
Since modes serve as rhetorical strategies (Pramaggiore, 2008) applied by the
filmmaker, discussed in detail in the second chapter of the thesis, it is appropriate to
analyze modes as well. Selection of a particular mode by the filmmaker reflects the
level of interference by the filmmaker. Mode is applied as inter-textuality. Therefore,
it seems necessary to evaluate the time allocated to a particular mode in the film. Use
of a particular mode and non-diegetic sound define framing implied by the filmmaker.
Analyses of modes are helping to study frame amplification, frame extension, frame
transformation and frame bridging by the filmmaker. The third level as mentioned
below, analyzes dialogues with respect to level of interference determined by the
selection of a mode.
Dialogues in documentary modes
a) Voice of authority
b) Talking heads
c) Direct cinema
d) Reflexive
Voice of authority mode is also perceived as ‗Voice of God‘ by the audience
as mentioned earlier in the second chapter. However, the content in voice of authority
mode is created and controlled by the filmmaker, therefore it is identified by the
researcher as an explanation or views expressed by the filmmaker. Selection of mode
also determines the level of interference (Bordwell & Thompson, 2004, p. 130).
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Quantification of the dialogues for a particular mode is applied to explore the
kind of treatment by the filmmaker given to any film. Voice of authority mode is
constructed and controlled by the filmmaker therefore; the level of interference of a
filmmaker is high as compared to the other modes. Talking heads mode makes a
practicing or non-practicing participant/character observable, so the views expressed
by the participant are associated and identified by the audience as of the participant
and not of the filmmaker.
Archival footage and/or other clippings can stabilize or destabilize the
conversation/dialogues of a participant. Any footage on the talking heads is evaluated
for being supportive or non-supportive to the conversation. Direct cinema mode
provides minimum chances of interference of a filmmaker therefore; this mode is
evaluated for low level of interference of a filmmaker while reflexive mode shows
non-interference of the filmmaker.
Since researcher is a Muslim and studying portrayal of religions that include
religions other than Islam, so it seems necessary to be unbiased. As mentioned earlier,
followers of all the religions under study are serving as coders to eliminate biases.
However, qualitative studies acknowledge that the research results are based on
interpretations of human processes, and reliability coefficients are not seen as relevant
(Berkowitz, 1990).
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CHAPTER 6
6.1 Quantitative Data and Tabulation
The categories of quantitative data are facilitating the researcher to discuss
followers of religions in the perspective of politics of representation. The politics of
representation includes propagation of particular discourses at the cost of
marginalizing others. Quantitative data is helping to describe the prominence given to
followers of certain religions. On the scale of pro-social and anti-social behaviors,
depiction of followers is observed quantitatively. Prominence and behaviors are
composite variables, discussed through tables. The details of the contributing
variables that make index score for prominence and pro-social and anti-social
behaviors are addressed through graphs.
Quantitative research questions are addressed through tables and graphs.
Graphs are depicting comparisons of different variables including practicing and non-
practicing followers, pre and post 9/11 scenario, male and female depictions for
prominence and image of followers. Constituting variables of prominence are also
presented through graphs. This is helping the researcher to explain variables in detail
without too many tables. Moreover, graphs are making the findings more interesting
and self-elaborative. The hypotheses are tested through quantitative data that
corresponds to the following research questions:
RQ 1: Is there any difference in the prominence given to the followers of different
religions?
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Table 6.1
Prominence given to Jews, Christians and Muslims in Oscar documentary films
Prominence Jews Christians Muslims
N % N % N % χ2(4)
Low 21.072***
18.0 21.2 58.0 44.6 6.0 20.7
Moderate
27.0 31.8 39.0 30.0 15.0 51.7
High
40.0 47.1 33.0 25.4 8.0 27.6
Total 85.0 100.0 130.0 100.0 29.0 100.0
***p<.001
Table 6.1 shows cross tabulation of religions and the levels of prominence
given to the followers of a religion. To find out the association between religions and
the levels of prominence, chi-square test was conducted. The value χ2(4) = 21.072, p =
.000 is significant at α = .001. The results of chi-square test show that the religions
and the levels of prominence are associated. High prominence given to Jews that is 40
(47%) as compared to Christians that is 33 (25.4%) and Muslims that is 8 (27.6 %).
Score of Jews on the moderate level of prominence is 27 (31.8%) as compared to
Christians that is 39 (30%) and Muslims that is 15 (51.7 %). Score of Jews on the low
level of prominence is 18 (21.2%) as compared to Christians that is 58 (44.6%) and
Muslims that is 6 (20.7 %).
Results of the table 6.1 reveal that Muslims have been marginalized on the
indicator of prominence. There is a significant difference between the overall
prominences given to Muslims that is 29 as compared to Christians that is 130.
Muslims are overall marginalized in reference to Christians as well.

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RQ 2: Do the non-practicing characters in Oscar-winning and Oscar-nominated
documentaries get more projection regarding ‗on screen time,‘ ‗dialogue time,‘
number of dialogues and eminent shots as compared to practicing characters?
Figure 6.1: Average scores and comparison of practicing and non-practicing followers
of religions for on-screen time.
Figure 6.1 shows averages and comparison of on-screen time of practicing and
non-practicing Jews, Christians and Muslims. There is a significant difference in the
averages of on-screen time of practicing and non-practicing followers. The average
time of practicing Jews is more that is 3.5 minutes (3 minutes and 21 seconds) as
compared to the on-screen time of non-practicing Jews that is 1.94 minutes (1 minute
and 56 seconds). The average on-screen time of practicing Jews is highest as
compared to practicing Christians and practicing Muslims. The average on-screen
time of practicing Christians is 2.98 minutes which means 2 minutes and 58 seconds.
While the average on-screen time of non-practicing Christians is 0.66 that is 39
seconds. The average on-screen time of practicing Christians is lowest as compared to

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practicing Jews and practicing Christians. The average on-screen time of practicing
Muslims is 3.27 which means 3 minutes and 16 seconds. Non-practicing Muslims got
less on-screen time that is 58 seconds as compared to practicing Muslims.
The results show that average on-screen time of practicing followers of the
three religions is greater as compared to non-practicing followers in Oscar-winning
and Oscar-nominated documentaries. Overall Jews got more time for their on-screen
depictions within the practicing and non-practicing categories.
of religions for dialogue time.
Figure 6.2 shows averages and comparison of dialogue time of Jews,
Christians and Muslims. There is a significant difference in the averages of dialogue
time of practicing and non-practicing followers of all the three religions. The average
dialogue time of practicing Jews is high that is 2.03 minutes (2 minutes and 2
seconds) as compared to the dialogue time of non-practicing Jews that is 1.54 minutes
(1 minute and 32 seconds). However, practicing Jews got minimum dialogue time as
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compared to practicing Christians and practicing Muslims. The average dialogue time
of practicing Christians is 2.51 minutes which means 2 minutes and 31 seconds.
While the average dialogue time of non-practicing Christians is 0.76 that is 46
seconds. Practicing Christians got maximum dialogue time as compared to practicing
Jews and practicing Muslims. The average dialogue time of practicing Muslims is
2.13 minutes which means 2 minutes and 8 seconds, while the average dialogue time
of non-practicing Muslims is 0.85 minutes which means 51 seconds.
The results show that average dialogue time of the practicing followers of the
three religions is greater as compared to non-practicing followers in Oscar-winning
and Oscar-nominated documentaries. Overall practicing Christians got maximum
dialogue time against all the categories.
of religions for dialogues.

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Figure 6.3 shows averages and comparison of number of dialogues delivered
by Jews, Christians and Muslims. There is a significant difference in the averages of
dialogues delivered by practicing and non-practicing followers of all the three
religions. The average of dialogues delivered by non-practicing Jews is high that is
61.61 as compared to the dialogues delivered by practicing Jews that is 32. However,
non-practicing Jews delivered maximum dialogues as compared to non-practicing
Christians and non-practicing Muslims. The average number of dialogues delivered
by practicing Christians is 33.24 that are high as compared to the average dialogues of
non-practicing Christians that is 14.63. Non-practicing Christians delivered minimum
dialogues as compared to non-practicing Jews and non-practicing Muslims. The
average of dialogues delivered by practicing Muslims is high that is 57.29 as
compared to the dialogues of non-practicing Muslims that is 30.89.
The results show that average dialogues delivered by the practicing followers
of Christianity and Islam are greater within the category of practicing and non-
practicing followers. However in the case of Judaism, the average for non-practicing
Jews is highest across all the categories.

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of religions for shot type.
Figure 6.4 shows averages and comparison of shot types used to depict Jews,
Christians and Muslims. There is a significant difference in the averages of shot types
used to depict practicing and non-practicing followers of all the three religions. The
graph shows the average use of five different types of shots for the depiction of
practicing and non-practicing followers.
The average use of big close-up for the depiction of practicing Jews is 18 that
are high as compared to the average for non-practicing Jews that is 14. The average
use of big close-up for the depiction of practicing Christians is 18 that are high as
compared to the average for non-practicing Christians that is 10. The average use of
big close-up for the depiction of practicing Muslims is 6 that is less as compared to
the average for non-practicing Muslims that is 15.6.

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The average use of close-up for the depiction of practicing Jews is 27.14 that
are high as compared to the average for non-practicing Jews that is 11.9. The average
use of close-up for the depiction of practicing Christians is 20.95 that are high as
compared to the average for non-practicing Christians that is 9.88. The average use of
close-up for the depiction of practicing Muslims is 10 that is less as compared to the
average for non-practicing Muslims that is 14.44.
The average use of medium shot for the depiction of practicing Jews is 20 that
are high as compared to the average for non-practicing Jews that is 14.92. The
average use of medium shot for the depiction of practicing Christians is 19.41 that are
high as compared to the average for non-practicing Christians that is 9.88. The
average use of medium shot for the depiction of practicing Muslims is 15 that are high
as compared to the average for non-practicing Muslims that is 12.
The average use of full shot for the depiction of practicing Jews is 4.5 that are
slightly high as compared to the average for non-practicing Jews that is 4.2. The
average use of full shot for the depiction of practicing Christians is 3 that are
matching to the average for non-practicing Christians that is also 3. The average use
of full shot for the depiction of non-practicing Muslims is 4.5 while practicing
Muslims are not depicted in full shot.
The average use of long shot for the depiction of practicing Jews is 6.4 that are
high as compared to the average for non-practicing Jews that is 4.79. The average use
of long shot for the depiction of practicing Christians is 6.91 that are high as
compared to the average for non-practicing Christians that is 3.68. The average use of
long shot for the depiction of practicing Muslims is 2.4 that is less as compared to the
average for non-practicing Muslims that is 4.7.

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The results show that practicing Jews got the highest average against all the
categories for Jews in their depictions through close-up. This category also got the
highest average across the religions. For the depiction of Jews across shot types, 4.2 is
the lowest average in the category of full shot used for non-practicing Jews. However,
practicing Christians got the highest average in close up against all the categories of
shots for Christians‘ depictions. In the category of big close-up for non-practicing
Muslims, 15.6 is the highest average across the categories of shots for Muslims‘
depiction.
Table 6.2
Prominence given to Jews, Christians and Muslims: pre and post 9/11 scenario
Prominence Jews Christians Muslims
Before 9/11 After 9/11 Before 9/11 After 9/11 Before 9/11 After 9/11
n % N % n % n % N % N %
Low 15 25.4 3 11.5 37 58.7 21 31.3 1 50 5 18.5
Moderate 11 18.6 16 61.5 16 25.4 23 34.3 0 0 15 55.6
High 33 55.9 7 26.9 10 15.9 23 34.3 1 50 7 25.9
Total 59 100.0 26 100.0 63 100.0 67 100.0 2 100 27 100.0
χ2 (2)=15.32*** χ2 (2)=10.68** χ2 (2)=2.39
**p<.01, ***p<.001
Table 6.2 is addressing the following research question:
RQ 3: Is there any difference in the prominence given to the followers of different
religions before and after 9/11?

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Table 6.2 shows cross tabulation of levels of prominence given to the followers of
Judaism, Christianity and Islam with reference to before and after 9/11. To find out
the association between the levels of prominence given to Jews before and after 9/11,
chi-square test was conducted. The value χ2 (2)=15.32, p = .000 is significant at α =
.001. The results of chi-square test show that the depiction of Jews before and after
9/11 is associated with the levels of prominence.
To find out the association between the levels of prominence given to
Christians before and after 9/11, chi-square test was conducted. The value χ2 (2)
=10.68, p = .0045 is significant at α = .01. The results of chi-square test show that the
depiction of Christians before and after 9/11 is associated with the levels of
prominence.
To find out the association between the levels of prominence given to Muslims
before and after 9/11, chi-square test was conducted. The value χ2 (2)=2.39, p = .303
is not significant at α = .05. The results of chi-square test show that the depiction of
Muslims before and after 9/11 is not associated with the levels of prominence.
RQ 4: Are the non-practicing followers of any religion getting different depictions
with reference to prominence in Oscar documentary films?

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Figure 6.5: Average scores and comparison of Prominence given to non-practicing
followers before and after 9/11.
Figure 6.5 shows a comparison of non-practicing followers of Judaism,
Christianity and Islam on the scale of prominence. Prominence is an index score of
four variables; shot type, on-screen time, dialogue time and number of dialogues
developed by principal component technique. The graph shows comparison of
prominence at three levels, among the non-practicing followers of religions.
According to the statistics, the prominence score of non-practicing followers of
Judaism is maximum on moderate level after 9/11. On the other hand, there is a
significant decline in the high level of prominence given to non-practicing Jews and
Muslims after 9/11. In the case of Christianity, there is an increase on high level of
prominence given to non-practicing followers after 9/11.
There is an increase on the moderate level of prominence given to the non-
practicing followers of all the three religions after 9/11. However, a decline is
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observed on the low level of prominence given to the non-practicing followers of all
the three religions after 9/11.
RQ 5: Are the non-practicing followers of any religion depicted with pro-
social behaviors in Oscar-winning and Oscar-nominated documentaries?
Table 6.3
Non-practicing followers of the religions depicted with pro-social behaviors
Pro-social Jews Christians Muslims
N % N % N % χ2(4)
Low 20.0 26.0 66.0 69.5 10.0 62.5 39.86***
Moderate 34.0 44.2 9.0 9.5 2.0 12.5
High 23.0 29.9 20.0 21.1 4.0 25.0
Total 77.0 100.0 95.0 100.0 16.0 100.0
***p<.001
Table 6.3 shows cross tabulation of non-practicing followers of religions and
the levels of pro-social behavior. To find out the association between the non-
practicing followers of religions and the levels of pro-social behavior, chi-square test
was conducted. The value χ2(4) = 39.86, p = .000 is significant at α = .001. The results
of chi-square test show that the non-practicing followers of religions and the levels of
pro-social behaviors are associated.
Non-practicing Jews, Christians and Muslims are depicted unvaryingly on the
level of high pro-social behavior. On the level of moderate pro-social behavior, non-
practicing Jews are getting more coverage that is 44.2% as compared to non-
practicing Christians and non-practicing Muslims that is 9.5% and 12.5%

107
respectively. However, non-practicing Muslims and non-practicing Christians got
more coverage on the level of low pro-social behavior that is 62.5% and 69.5%
respectively as compared to non-practicing Jews that is 26%.
Results of the table 6.3 reveal that non-practicing Muslims and non-practicing
Christians got maximum score on the low level of pro-social behavior. While non-
practicing Jews got maximum score on the moderate level of pro-social behavior.
RQ 6: Are the practicing followers of any religion depicted with anti-social
behavior in Oscar-winning and Oscar-nominated documentaries?
Figure 6.6 Average scores and comparison of pro-social and anti-social behaviors of
practicing followers
Figure 6.6 shows averages and comparison of pro-social and anti-social
behaviors of practicing Jews, Christians and Muslims. There is a significant
difference in the average score of anti-social behaviors of practicing Christians as

108
compared to practicing Muslims and practicing Jews. The graph shows zero score of
Muslims and Jews for anti-social behaviors. However, practicing Christians scored
2.3 for their associations with anti-social behaviors. The average scores of practicing
followers for their pro-social behaviors are almost similar. The results show strong
relationship between practicing Christians and their anti-social behaviors.
RQ 7: Are there more male followers of any religion depicted with pro-social
behavior as compared to female followers in Oscar documentary films?
Table 6.4
Male followers of the religions depicted with pro-social behaviors
Pro-social Jews Christians Muslims
n % N % N % χ2(4)
Low 16 29.6 60 61.2 9 40.9 21.81***
Moderate 22 40.7 12 12.2 4 18.2
High 16 29.6 26 26.5 9 40.9
Total 54 100.0 98 100.0 22 100.0
***p<.001
Table 6.4 shows cross tabulation of male followers of religions and the levels
of pro-social behaviors. To find out the association between the male followers of
religions and the levels of pro-social behavior, chi-square test was conducted. The
value χ2(4) = 21.81, p = .000 is significant at α = .001. The results of chi-square test
show that the male followers of religions and the levels of pro-social behaviors are
associated. On the low level of pro-social behavior, score of male Jews is 16 (29.6%)
that is small as compared to male Christians that is 60 (61.2%). Overall score of male
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Muslims on pro-social behavior is smallest that is 9 (40.9 %). Male followers of
Judaism got maximum score for pro-social behavior on moderate level that is 22
(40.7%) as compared to male followers of Christianity that is 12 (12.2%) while male
followers of Islam scored 4 (18.2 %) for pro-social behavior on moderate level. Male
followers of Judaism scored 16 (29.6%) on high level of pro-social behaviors as
compared to male followers of Christianity that is 26 (26.5). Male followers of Islam
scored 9 (40.9%) on high level of pro-social behaviors.
Results of the table 6.4 reveal that the male followers of Judaism and
Christianity received analogous coverage for the depiction of pro-social behaviors on
two levels; low and high. Male followers of Islam scored 9 (40.9) on both levels; high
level and low level of pro-social behaviors. Male followers of Judaism scored 16
(29.6) on both levels; high level and low level of pro-social behaviors. However, the
overall score of male followers of Christianity is maximum on low level of pro-social
behaviors.
Figure 6.7 Average scores and comparison of gender and followers of the religions
with pro-social behaviors.

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Figure 6.7 shows scores regarding pro-social behavior of followers. On a
comparative scale of gender and pro-social behaviors, male and female followers of
Judaism, Christianity and Islam are evaluated within and across religions.
The percentages for pro-social behaviors of male and female Jews are eminent
and close on moderate level as compared to high and low levels. 40.7% male and
43.3% female Jews are depicted with pro-social behavior on moderate level of
prominence. However there is a significant difference in the depiction of pro-social
behaviors of male and female Jews on high and low levels. On low level of pro-social
behaviors male Jews are 29.6% and female Jews are 16.7% while on high level of
pro-social behaviors, the case is vice versa. Female Jews depicted with pro-social
behaviors are 40% as compared to male Jews that are 29.6%.
The percentages for pro-social behaviors of female Christians are significant
on moderate and high levels as compared to male Christians. On moderate level of
pro-social behaviors, female percentage is 28 as compared to male that is 12.2%. On
high level of pro-social behaviors, female percentage is 32 as compared to male that is
26.5%. However, percentage of male Christians on level of pro-social behaviors is
high as compared to female. 61.2% male Christians are depicted on low level pro-
social behaviors as compared to female Christians that is 40%.
The percentages for pro-social behaviors of male Muslims are same on low
and high levels of pro-social behaviors that are 40.9%.
On a comparative scale of female followers and pro-social behaviors across
religions, there are more Jew females depicted with pro-social behaviors among all
the three religions. On a comparative scale of male followers and pro-social behaviors
across religions, there are more Christian males depicted with pro-social behaviors
among all the three religions

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Table 6.5
Level of interference of the filmmaker for the depiction of Jews, Christians and
Muslims
Interference Jews Christians Muslims
n % N % N % χ2(4)
Moderate 19.32***
(Talking Head) 54 75 57 48.7 4 25
Low
(Direct Cinema) 18 25 60 51.3 12 75
Total 72 100 117 100.0 16 100
Table 6.5 shows cross tabulation of the followers of religions and the level of
interference of filmmakers. To find out the association between the followers of
religions and the levels of interference of filmmakers, chi-square test was conducted.
The value χ2(4) = 19.32, p = .000 is significant at α = .001. The results of chi-square
test show that the levels of interference and the followers of religions are associated.
On the moderate level of interference, Jews is 54 (29.6%) that is small as compared to
male Christians that is 60 (61.2%). Overall score of male Muslims on pro-social
behavior is smallest that is 9 (40.9 %). Male followers of Judaism got maximum score
for pro-social behavior on moderate level that is 22 (40.7%) as compared to male
followers of Christianity that is 12 (12.2%) while male followers of Islam scored 4
(18.2 %) for pro-social behavior on moderate level. Male followers of Judaism scored
16 (29.6%) on high level of pro-social behaviors as compared to male followers of

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Christianity that is 26 (26.5). Male followers of Islam scored 9 (40.9%) on high level
of pro-social behaviors.
6.2 Qualitative Analyses of Documentaries
Bruzzi (2000, p. 6) forcefully claimed that "a documentary will never be
reality nor will it erase or invalidate that reality by being representational" According
to Bruzzi voice-over narration is largely viewed in negative terms by film theorists,
‗Voice of God/Authority‘ narration in particular is deemed manipulative and
subjective (p. 58). Bruzzi argues that "the reductivism that has plagued discussion of
documentary's implementation of voice-over". Reductivism refuses to acknowledge
gender differences in narration, deliberate ironic narration or distanced narration.
Bruzzi (2000, p. 252) argues in her conclusion, "Documentary now widely
acknowledges and finally engages with its own constructedness, in its own
performative agenda; it is not that reality has changed, but rather the ways in which
documentary … has chosen to represent it." Documentary film is assumed to be
unbiased and objective, but voiceover, subjectivity, conscious structuring and biases
are fundamental ingredients of each documentary film that may make it biased and
subjective. None of the documentary filmmaker can escape them as they are
necessary requirements for the production of documentary film.
6.2.1 Narrative Structures, Scene-settings and Modes
Qualitative analysis of the documentary films as mentioned in the ‗coding
frame‘ (Annexure-I) deals all the films at three levels; narrative structures, scene-
setting, and modes of documentary. The levels are further divided and
operationalized. Narrative structures are perceived in two conceptual dimensions;
thematic structures and schematic structures, further explained in observable

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categories. Scene-setting is observed in all the chapters/scenes through three
categories; participants, issues, and dialogues/conversation of the participants.
With reference to the modes of documentary discussed in Chapter II, the
researcher has analyzed all the documentaries to explore the application of a particular
mode in terms of dialogues. Modes are observed in two ways; participant depiction
time through a particular mode, and number of dialogues depicted in a particular
mode. Both explain the choices of filmmaker regarding the application of a mode.
Participants‘ depiction time in a particular mode is helping the researcher to study it
with the perspective of practicing and non-practicing followers and other people. This
aspect is helping to explore relationships, if any, between participants‘ religion and
their respective mode. Analysis of the selection of modes for the depiction of
dialogues is serving to explain frame building choices of the filmmaker. Non-diegetic
sound is usually appied in the documentary films as a norm however, it facilitates a
filmmaker to sustain or repel the argument made by the participant.

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6.2.1.1 Qualitative Analysis of „Jesus Camp‟
Jesus Camp documentary produced and directed by Heidi Ewing and Rachel
Grady depicts the activities of ‗Kids on Fire‘ summer camp. In 2001, Pastor Becky
Fischer started the ‗Kids on Fire‘ summer camp in Devil‘s Lake, North Dakota and
Evangelical families from around the United States attend it. Pastor Becky Fischer
trains children how to become dedicated Christian soldiers in ‗God‘s Army‘ and ―take
America back for Christ‖. Becky Fischer is a Pentecostal children‘s minister, runs
conferences and an annual summer camp for Evangelical kids. Evangelicals believe
that to obtain salvation they must be ―born-again‖ by accepting Jesus as their savior.
43% of Evangelical Christians become ―born-again‖ before the age of 13 and 75% of
home schooled kids in the United States are Evangelical Christians because their
parents view the secular world as a ‗nasty‘ place.
Chapter one, titled as ‗Opening‘ lasts three minutes and fifty four seconds. The
chapter is constituted through radio news and callers‘ feedback to Mike Pap Antonio
who conducts radio shows. Excerpts from Mike Pap Antonio‘s radio shows at KNBC
are relayed and the remarks that carry religious elements are included. Antonio
assumes that in United States religious writers are constructing the messages of ‗Us
against Them‘. Antonio says in his radio program, ―I believe that as Christian citizens
of this country we should be actively involved in this, this is stormed moment. And if
the church, across this country, believers can come together and take a stand I think
it‘s gonna have a powerful, powerful impact on this process.‖ There is an appeal to
the church believers to take action jointly. Another caller says, ―We are engaged
today in what they call cultural war. We didn‘t start but we find His grace on the
advance and we should say yes we want to reclaim America for Christ.‖ Religious
extremism is depicted as dividing America. Antonio discussed the entanglement of

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religion with politics and the expectations of evangelicals from George Bush to create
a ‗Christian society not just in America but all over the world‘. The other discourses
related with religion are; redemption, religious versus secular people, sectarianism
splitting up people, and politico-religious synthesis, Evangelicals‘ view themselves as
‗warriors of God‘ and ‗peace promoters‘. Juxtaposing and sequencing play a pivotal
role in formulating discourses. Non-diegetic sound is used for two minutes and thirty
seconds. The rhetoric strategies applied in the first chapter are voice of authority
mode and direct cinema mode. Out of thirty dialogues, sixteen are in direct cinema
mode and the rest are in voice of authority mode.
Second chapter ‗Children‘s Prayer Conference‘ starts with a song and the
participants are Becky Fischer and children. The lasts four minutes and thirty nine
seconds and depicts that how Evangelicals are promoting themselves. Religious
practices are stressed by Becky Fischer for developing a connection with the ‗Holy
Spirit‘ and Muslims are exemplified. Becky Fischer says, ―Do you know Muslims
train their children from the time they are five years old to fast during the month of
Ramadan.‖ The chapter portrays that Evangelicals consider themselves superior ‗Us‘
and rest of the people as inferior ‗Them‘. As Becky Fischer says, ―This is a secular
world. Well then let‘s just fix it.‖ The dialogue shows that Evangelicals consider
themselves to be the saviors. Becky Fischer asks children to say, ―God, I am here to
be trained. I am here for an education. I am willing God, I will do which you want me
to do. I will say which you want me to say in Jesus name.‖ Children follow
instructions and Becky Fisher explains children‘s condition as being hooked up with
spirits and not out of fit or trans. direct cinema mode is used as a rhetoric strategy to
show the activities at Children‘s Prayer Conference, Missouri. All the forty nine
dialogues are by Evangelicals in direct cinema mode. Interference of the filmmaker is

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very low in direct cinema mode. Post production treatment and sequencing of the
scenes seems natural due to direct cinema mode. Non-diegetic sound is used for four
minutes and fifteen seconds that is neutral to the dialogues and scenes.
Becky Fischer leads the third chapter titled on her name. The chapter lasts four
minutes and thirty nine seconds. The other participants include Levy and other kids at
the camp. Becky‘s suggestion is to implement radical approach for the cause of Jesus.
She says that children are the one third of world population so they should be trained
for this cause as the enemy (Muslims) is also focusing its attention on the kids.
According to Becky Fisher, in Palestine Muslim are training their kids how to use
hand grenades ―They are teaching them how to put on bomb belts…how to use
riffles…how to use machine guns. It‘s no wonder with that kind of intense training
and disciplining that those young people are ready to kill themselves for the cause of
Islam. I wanna see them as radically laying down their lives for the Gospel as they are
over in Pakistan, and Israel and Palestine and all those different places you know.‖
Her comments reflect her perceptions about extremists. She thinks that extremists are
Muslims and doing such activities in the name of Islam. Becky Fischer appreciates
President George Bush for creating a Christian friendly environment in the United
States. She comments, ―He has really brought some real creditability to the Christian
faith.‖ Evangelicals believe that to obtain salvation they must be ―born-again‖ by
accepting Jesus as their savior. Talking heads mode is used for thirteen dialogues
while forty nine dialogues are in direct cinema mode. The dominant mode is direct
cinema, applied at annual school summer camp at Devil‘s Lake. Non-diegetic sound
is used for one minute and forty eight seconds. Becky‘s speech in the direct cinema
mode, without any non-diegetic sound enhances the seriousness of her arguments.
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‗Levi‘ is the title of chapter named on an evangelical character. The chapter starts
with the scenes of a television program. The program is about creationism. The
chapter‘s participants are Levy and his family and lasts four minutes. A question is
put forth through television program whether the theory of creationism is based on
belief or scientific laws. Levi, his mother, and brother share their views on global
warming and creationism in the religious backdrop and contravene scientific version.
75% of home schooled kids in the United States are Evangelical Christians as they
uphold Biblical stance. As Levi‘s brother says, ―I think personally that the Galileo
made the right choice by giving up science for Christ.‖ Levi‘s mother is in favor of
not sending kids to schools as society is no more based on Judaic Christian values.
She divides the people on earth into two categories; those who love Jesus and those
who don‘t and feels herself lucky to be a Christian. The main discourses depicts Levi
and his family‘s perspective on religion. Talking heads and direct cinema mode both
are used. Out of fifty five dialogues, ten are in talking heads and forty five in direct
cinema mode so the dominant mode is direct cinema. Non-diegetic sound is used for
one minute and thirty two seconds.
‗Ring of Fire‘ is the title of chapter five that lasts five minutes and twenty one
seconds. The chapter is named and constituted through Antonio‘s radio show ―Ring of
Fire‖. Antonio, in his program criticizes the entanglement of politics and religion in
schools. He points out, ―Our president is still telling Americans that we should teach
creationism in our schools, that we should teach the right alongside with evolution.‖
Bible‘s version of evolution is believed to be the right version. It is depicted that
believers take Christ as savior and panacea to all problems. That‘s why they are not
taking care of this earth, not concerned with the global warming and other issues.
Eighty million people in America describe themselves as Evangelicals that is 25% of

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the American population. A smooth transition from radio show to the discussion
among Levi, Rachael and Rachael‘s father takes place but Christianity remains the
main discourse. Rachael‘s view is that Jesus is Almighty God who has special plans
for human beings. Antonio thinks that different perspectives of scientific and religious
education are separating state and church including issues of global warming,
Darwin‘s evolution theory and creationism. Juxtaposing and sequence of the scenes
emphasize the conflict of Christianity and science. Direct cinema mode and talking
heads mode both are used but dominant mode is direct cinema. Out of sixty two
dialogues, only nine are in talking heads. Non-diegetic sound is used for three minutes
and fifteen seconds.
―Tory‖ is the title of sixth chapter that lasts four minutes and forty seven
seconds. The chapter is named after Tory and based on Tory and her mother‘s
discussions. The chapter starts with music and Tory‘s comments that she likes
Christian music as it focuses on Jesus or Lord. She says that sometimes there is no
verbal expression but they do have a Christian base. The dialogues show that Tory has
a strong perspective of Christianity that‘s why she can interpret things in that context.
Tory‘s mother says that parents are answerable to God for how they raised
their children. She considers Becky Fischer as the right person to train her daughter.
Direct cinema mode shows children singing a poem in which Christians‘ dignity and
power is related to unity and one brotherhood. The wording of the poem is, ―I pledge
religions to the Christian fight to be savior, to his kingdom and stance; one
brotherhood uniting all Christians‘ dignity and their power. I pledge the religions to
the Bible, God‘s only word. I will make it a lane to my feet and a light to my path and
a highest word in my heart that I might not sitting against all.‖ Evangelicals‘ consider
Bible as God‘s only word that discards the recognition of other revealed books as
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God‘s word. Talking heads and direct cinema modes are used. In all the thirty one
dialogues, four are in talking heads mode and rest in direct cinema. Non-diegetic
sound is used for two minutes and fifty four seconds to emphasize the wording of the
poem sung by the Evangelical children.
Chapter seven is titled as ‗Kids on Fire‘ and lasts two minutes and forty eight
seconds. Becky Fischer is the leading participant. Music and song are included in this
chapter to enhance the impact. Chapter is formulated by the scenes of summer camp
in Devil‘s Lake, North Dakota. The summer camp was started by Becky Fischer in
2001. The chapter starts with music, followed by Becky Fischer‘s dialogues. She
prays to Lord and to Jesus for the success of her summer camp and the proper
functioning of all the equipment she is going to use in the camp. The chapter ends at
music and song. Juxtaposing of Becky‘s speech to song is reinforcing Becky‘s views
and contributing to the main discourses of the chapter. Becky‘s devotion and
commitment to Christianity is depicted in the chapter. All the thirteen dialogues are
by Becky Fischer, constituted through direct cinema mode. Non-diegetic sound is
used for one minute and fifty seven seconds.
Chapter eight is titled as ‗Kicking‘s it for the Christ‘ and lasts six minutes and
thirty two seconds. The chapter starts with songs and dance scenes, and constituted
through Becky and kids. The main discourse of the chapter depicts Becky Fischer‘s
mission to prepare children for abandoning worldly desires and work for religion. She
explains to the kids that how devil uses different tactics to destroy our lives and goes
after the young. She tells the objective of the summer camp is to train the children
how to overcome the devil‘s tactics. She comments on Harry Potter as ‗enemies of the
God and had it been in the Old Testament, Harry Potter would have been put to the
death‘ because warlocks are enemies of God. Becky Fischer labels children as, ―a
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generation which is gonna stand for purity and righteousness and holiness and you
gonna serve the God in all days of your life.‖ Becky is depicted as promoting the
message of peace among children. However, heroes like Harry Potter are criticized for
being involved in war like activities. Direct cinema mode is used as a rhetoric strategy
in all the eighty six dialogues delivered by Evangelical Christians. Non-diegetic sound
is used for four minutes and five seconds to reinforce Becky‘s mission.
‗Night Time at Camp‘ is the title of ninth chapter that lasts six minutes. The
main participants are Becky Fischer and kids at the camp. Becky considers the young
generation as ‗sight and sound‘ generation that learns through visuals and
demonstrations. That‘s why she tries to teach creationism through demonstration. She
emphasizes on reading Bible as she says, ―If you don‘t read the Bible, you gonna
squeeze, your spirit will become weaker.‖ She criticizes contents on television as bad
things that stick to children‘s minds. She exemplifies human mind with jell moll on
which certain things can adhere. Children are so influenced that in their beds they
share derogatory comments about Harry Potter and Indian films. Direct cinema mode
shows children‘s immersion into the teachings of summer camp. A guy at the camp
prays, ―O Jesus we just pleaded your blood, over our sins and the sins of our nation.
God end abortion and send revival to America.‖ Since Bible does not allow abortion,
so Jesus as a savior is asked for help to stop this phenomenon. The chapter depicts
that Evangelicals assume religion as an ultimate savior. Juxtaposing of talking heads
and direct cinema modes facilitate each other and applied in fifty six dialogues.
Twenty seven dialogues are in direct cinema and rest in talking heads mode. Non-
diegetic sound is used for one minute and thirty six seconds.
Rachael and Levi are depicted in the tenth chapter titled as ‗Dead Churches‘.
The chapter lasts three minutes and forty eight seconds. The main discourses
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emphasize upon religious practices. Rachael maintains that God is not in every
church. God visits those churches where people praise Him loudly. She motivate
going to church regularly. Levi feels as Jesus coming back to this generation and
helping those who are engaged in preaching. He says, ―I don‘t write the sermon God
write the sermon. Sometimes I can feel in my arm, someone holding my arm while I
am writing it.‖ The dialogue shows that preachers are just tools in the hands of God.
The concept of ‗good forces working against evil forces‘ is depicted. Levi is of the
view that Satan is after us and our obligation is to rise up and escape form him. Direct
cinema mode is applied in all the twenty seven dialogues with a non-diegetic sound
for one minute and fifty seven seconds. The participants are Evangelical Christians.
The title of chapter eleven is ‗Breaking of Cups‘ that is signified by Pastor as
breaking the power of enemies and government. The chapter lasts four minutes.
Becky Fischer, Pastor and kids are the participants of this chapter. The main
discourses condemn secularization. Secular government and secular people are
blamed to take Jesus out of the schools. Pastor says to the kids, ―But they can not take
it out from hearts.‖ He reminds people of their duty to speak up against the corrupt
government and for the righteous government. Tory, in response to Pastor‘s speech,
believes that there is a need to change the nation. He says, ―We have a grace upon the
Jesus and we declare a line on the Judo.‖ Becky Fischer also motivates children to
conduct a war against corrupt government and thus ‗breaking the cups‘. Direct cinema
mode is applied as a rhetoric strategy for all the forty three dialogues. Non-diegetic
sound is used for three minutes and thirty two seconds. All the participants are
Evangelical Christians.
‗Exploring the Cave‘ is the twelfth chapter that lasts two minutes and nine
seconds. The chapter is constituted through two participants; Levi and his brother.
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Spiritual aspect of life is the main idea discussed in this chapter and Christianity is
considered as a food for the soul. Levi views the temptations of this world as a candy
for non-Christians. He argues that candy as only food ultimately makes people sick
and ‗the Holy spirit is like the meat.‘ Indulgence in the world is condemned by Levi.
He is hopeful about Evangelicals as he thinks that lots of people in America have
started following God. Non-diegetic sound is used for thirty seven seconds on direct
cinema mode that is used to depict Levi and his brother. All the twenty two dialogues
are delivered by Levi and his brother who are Evangelical Christians.
‗Welcome the President‘ is the title of thirteenth chapter that lasts seven
minutes and six seconds. Becky Fischer, Lou Engle, kids and a stage secretary are the
participants of the chapter. Lou Engle is a pastor, invited at the summer camp to
address the kids. Unity among Christians and moral standards are the main ideas
depicted. A life size cutout of President George W. Bush is brought before the kids. A
request is made to the president to convert America into complete Christian nation,
‗one nation under God.‘ Lou Engle motivates Levi with the idea that God has special
plans for him and he has to change America. Lou Engle says to children, ―Seriously
kids, I believe that you are the beginning of the moment that can rise up and more
than Al Qaeda, can over throw abortion in America.‖ All the children sarcastically
demand for righteous judges who bid to ban abortions. Becky Fischer reinforces Lou
Engle‘s view point and asks children to make covenant with God on that. She says to
the children, ―Don‘t be promise breaker, be a history maker.‖ The chapter depicts that
Evangelicals want to combine state and church to implement Bible. Sequence of the
scenes supports the main discourses. Direct cinema mode is used in all the ninety
three dialogues. Non-diegetic sound is used for one minute and forty six seconds. All
the participants are Evangelical Christians.

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‗Another Point of View‘ is the fourteenth chapter that lasts four minutes and
twenty six seconds. Mike Pap Antonio discusses how religious element is taking over
politics by controlling Congress, White House and judiciary in recent times. He says,
―There is a religious-political army foot soldiers out there. They are being directed by
a political right. This is not ten-fold hat conspiracy stuff. It‘s happening.‖ George
Bush is blamed for his conservative political fundamentalist element in a radio report
that points out the nomination of Judge Samuel A Aledo Junior in Supreme Court. It
is reported on the radio as, ―One more step towards bringing America back to one
nation under God.‖ Song at the end of the chapter assists to enhance the total impact.
Colorado is mentioned as a place of mega churches as Christian tourists visit there
during spring season. Music is added at different points throughout the chapter and
text is inserted at the end to give extra information. Direct cinema mode is used for a
total of twenty five dialogues. Seventeen dialogues are delivered by Christians and
eight are ‗for‘ Christians in the form of radio report. Non-diegetic sound is used for
three minutes and thirty seven seconds.
‗Pastor Ted Haggard‘ is the fifteenth chapter that lasts three minutes and forty
one seconds. Participants are Ted Haggard and kids. The chapter depicts Haggard
promoting Bible as the final word, undeniable, unquestionable, and should be
implemented. Haggard is a senior pastor and the President of the National Association
of Evangelicals which represents 30 million people. He is of the view that as a nation
all the Americans should have a core belief in Christianity that is the redeemer of all
social evils including homosexuality and a guarantee to freedom. Haggard focuses
upon kids training to be true Evangelicals because the teachings of public schools are
corrupting them. This point is directly in contrast with the science education. Haggard
wants children to preach their religion as he says, ―We believe that you have to
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emphasis people younger than you in order to grow your church in a healthy way.‖ He
makes the kids realize the power of Evangelicals to determine elections. All the forty
nine dialogues are in direct cinema mode that increase the credibility of the content
and makes the filmmaker neutral. Direct cinema mode gives the impression to the
viewers that things are happening before their own eyes without any manipulations.
Selection of the scenes, juxtapositions, and post production treatment by the
filmmaker appear natural through direct cinema mode. Non-diegetic sound is used for
one minute and thirty one seconds.
Chapter sixteen is titled as ‗In Washington‘ that lasts two minutes and forty
four seconds. The chapter starts with a song outside the church and ends on music.
The participants are Pastor Lou Angle and children. Pastor Lou Angle addresses the
children in front of a church in Washington and motivates them to overcome the evils.
He says, ―God wants to use the smallest to confound the wise… God says that the
prayers of little kids can shake kings.‖ Idea of bringing a change in America is being
instilled in the minds of children. All the five dialogues are delivered by Pastor Lou
Engle in direct cinema mode. The efforts to mobilize children by Pastor are quite
visible. Non-diegetic sound is used for one minute and thirty seven seconds that is
neutral.
‗An Army of God‘ is the seventeenth chapter in which Levi and Rachael
consider themselves to be God‘s warriors and assigned with the duty to train others.
The chapter lasts two minutes and twenty nine seconds. The discourse of this chapter
is an extension of the previous chapters. It depicts the response of kids to the efforts
of Pastors‘ preaching. The participants include Levi, Rachael and Becky Fischer. Levi
asserts by saying that it is their duty to train others to be God‘s army and to
implement God‘s will. Rachael maintains the view that waging war in the name of
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God yields to peace and to be martyr is very cool. Becky Fischer is much concerned
about the extreme liberal environment prevailing in America that can corrupt children.
Children are depicted as missionaries of God who need to ignore the bad learning.
Some video clipping from television is inserted into the chapter. The clipping is about
preaching, included to enhance the impact of main discourses. Schematic structures
are supportive to highlight the intensity of preaching through sequencing the scenes
and juxtaposing the modes. All the twenty two dialogues are by Evangelical
Christians. Ten dialogues are recorded in talking heads mode and twelve in direct
cinema mode. Non-diegetic sound is used for eight seconds that serves as a smooth
transition of one chapter to the other.
‗Radio Debate‘ is the title of chapter eighteen and it lasts four minutes and
eleven seconds. In chapter sixteen, Antonio takes Becky Fischer on a radio program
‗Biz Mart‘ to discuss her aims and activities as Pastor. This chapter is evaluating the
discussion of Becky with reference to her radio program. The topics discussed are
fundamentalism, indoctrination, brain washing, democracy, political cause of
Evangelicals, and integration of church and state. Antonio points out Evangelicals for
targeting kids to be army of God and working for Republican Party. He criticizes
indoctrination as damaging the progression of mankind, depriving them from the
freedom to choose and serving as an impediment to true democracy. Juxtapositions
highlight the integration of church and state. Chapter closes on the confirmation of
Samuel A Aledo Junior as associate justice of Supreme Court. He is a religious person
as mentioned in chapter fourteen, ―Let‘s confirm this man Judge Aledo to your
Supreme Court and lets make one more step towards bringing America back to one
nation under God.‖ Quoting confirmation of Supreme Court associate justice
signalizes the hold of religion on Judiciary as well. The chapter depicts the mission of
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Evangelicals to uphold religion in every discipline of life. Direct cinema mode is
used in all the forty seven dialogues that are about Christianity. Non-diegetic sound is
used for fifty two seconds that serves as a smooth transition of the chapters.
The last chapter of the documentary is titled as ‗Becky‘s Joy‘ that lasts two
minutes and twenty seconds. Becky Fischer and voice of authority constitute the
chapter. Becky Fischer expresses that her greatest joy is replacing secular America by
Christians. She thinks that promoting Christianity will help her to get heaven. Her
focus is America because she loves it. Some points are presented as facts through
voice over including; India the most religious nation of the world, Sweden the most
non-religious nation and Christians as leaders who speak for God. Nine dialogues are
by Becky Fischer in the talking heads mode. In a total of seventeen dialogues, eight
are in the direct cinema mode presented through radio report. Juxtapositions depict
the ultimate goal of Evangelicals that is to convert America into a Jesus state. Non-
diegetic sound is used throughout the chapter. ‗End credits‘ is the title of the lasts
chapter.
Heidi Ewing is a Catholic Christian and Rachael Grady is a Jew. In this film
they have used three modes of documentary to frame practicing Christians as a threat
to modern society. Out of nineteen chapters in the Jesus Camp, direct cinema mode is
used in twelve chapters. Though, direct cinema mode is considered to establish
uncritical belief of the viewers in what they are shown (Bordwell & Thompson, 2004:
132). Filmmakers seem to be objective in direct cinema mode however, the selection
processes, juxtaposing and editing of shots facilitate filmmakers to frame practicing
Christians as a danger to the existing system. Direct cinema mode is used for 39
minutes. Juxtaposition of the chapters plays a pivotal role in the depiction of
Christians. Talking heads mode is used in ten chapters and the time consumed in this
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mode is 15 minutes. The following graph shows the details of filmmakers‘
interference level.
Figure 6.8 Interference level of the filmmakers in the film ‗Jesus Camp‘
Film‘s running time is 87 minutes and non-diegetic sound is applied for 46
minutes. Overall filmmakers‘ interference level is very low as compared to other
films. The film was nominated for Oscar. Moreover, it won Grand Jury Award in
Silverdocs Documentary Festival and Special Jury Prize in Tribeca Film Festival. It
was also nominated for three other awards including Chicago Film Critics Association
Awards (CFCA), Online Film Critics Society Awards (OFCS), and Satellite Awards.
Overall the narrative structures of the film suggest political agenda of the
Evangelical movement. There is a wake up call to secular America for a growing
number of Evangelical Christians who believe that the revival is underway in
America. The religious movement with a congregation of over 30 million wants their
youth to take up leadership roles. Inter-textuality in various chapters depicts
filmmakers‘ concern regarding Evangelicals propagation and how it can be a threat to

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the existing social system. As pastor Becky Fisher‘s mission is evident from the
following statement, ―I wanna see young people as committed to the cause of Jesus
Christ as young people are to the cause of Islam…I wanna see them radically laying
down their lives for the Gospel as they are over in Pakistan and Israel and Palestine.‖
Mainly through direct cinema, the filmmakers depict summer camp at Devil‘s Lake,
North Dakota where children are trained to become dedicated Evangelical Christians.
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6.2.1.2 Qualitative Analysis of „My Country, My Country‟
The Oscar-nominated documentary ‗My Country, My Country‘ is directed by
Laura Poitras. Laura has also served as producer and cinematographer of the film. The
film provides an insider‘s perspective on the U.S. occupation of Iraq. It provides a
glimpse of the use of U.S. preemptive military force to implement its foreign policy
after 9/11. The main characters of this documentary are Dr. Riyadh, Peter Towndrow,
Carlos Valenzuela, and Capt. Khris Scarcliff. Laura spent eight months in Iraq to get
footage for her documentary. She met Dr. Riyadh, an Iraqi medical doctor, at Abu
Gharib prison during his inspection. Laura decided to capture his story in the
perspective of January 2005 elections after U.S. occupation. Dr. Riyadh is a Sunni
Muslim political candidate, who is an outspoken critic of U.S. occupation. The will of
an occupied population is depicted through the public interviews and daily
interactions of Dr. Riyadh. The film reveals the implications of U.S. project to
implement democracy in the Middle East, with the help of Australian private security
contractors, American journalists and UN officials. The film has won Inspiration
Award, Best Long Documentary Award, Human Rights Award, and Henry Hampton
Award. The film consists of twelve chapters.
‗Baghdad‘ is the title of chapter one that lasts four minutes and fifty four
seconds. The main participants are Dr. Riyadh, his family and patients. The main
discourses depict Baghdad before elections of 2005. The chapter starts with text on
the screen describing that elections in Iraq are scheduled on 5th of January 2005.
America wants to spread democracy but the conditions are worsening. Bombing,
shooting, killings and riots are at increase. Baghdad is depicted through direct cinema
mode six months before the elections. Dr. Riyadh, who runs a free medical clinic at
Adhamiya, has a daily interaction with patients. The perceptions of Iraqis regarding
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U.S. invasion is that they are ‗moving the battlefield to the enemy‘s land.‘ In a total of
thirty one dialogues two appears as text on screen and twenty nine are in direct
cinema mode. Non-diegetic sound is used for one minute and twelve seconds.
‗Joe "Reasonable" Iraqi‘ is the title of chapter two. The main participants are
Dr. Riyadh, Richard Armitage, American soldiers, Charles Valenzuela, Captain
Scarcliff and a translator. Joe is an expression used for common man. The chapter is
about managing elections to satisfy common Iraqi people. The chapter starts with the
two helicopters flying above the city and sounds of siren. The scene is followed by the
coverage of U.S. military compound labeled as ―The Green Zone‖ in Baghdad.
American soldiers are involved in election security briefing to make elections a
success. The address of Richard Armitage, U.S. Assistant Secretary of State, depicts
U.S. endeavors to change the face of Middle East. Charles Valenzuela, who is
working for UN Electoral Assistance Division, gives briefing about voters‘
registration centers. Dr. Riyadh is also a candidate for the Governorate Council of
Baghdad. His conversations with common Iraqis expose that they want to vote for the
locals. If Falluja and Ramadi boycott election, it means boycott by Sunni population.
U.S. wants to avoid any kind of boycott. So, it is necessary to have the participation of
these cities. Dr. Riyadh‘s clinic is in Adhamiya which is Baghdad Sunni
neighborhood. Dr. Riyadh‘s discussion with his wife depicts his ideas about religion.
He says, ―Denying your religion is like denying your identity…your country.
Secularism won‘t give us our rights. America is secular but its democracy hasn‘t
achieved justice.‖ Dr. Riyadh considers Islam as an integral part of the government.
He further explains, ―All religions preach justice. They don‘t call for people to
occupy, kill, rape, or marginalize others.‖ However, it seems as if U.S. secular
government is promoting chaos and uncertain future. Dr. Riyadh‘s visit to Abu Gharib
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prison supports this argument. U.S. soldiers have imprisoned children. Dr. Riyadh
argues U.S. soldiers to set juveniles free but they consider them dangerous. They are
afraid of Iraqi children. They are afraid of common Iraqi people and common Iraqis
are sensible. In a total of one hundred and thirty three dialogues, one hundred and
twenty seven are in direct cinema mode. Six statements appear as text on screen that
is considered as voice of authority mode. Non-diegetic sound is used for one minute
and forty one seconds.
‗Three Months Before Elections‘ is the title of chapter three that lasts six
minutes and fifteen seconds. The main participants include Dr. Riyadh, Carlos
Valenzuela, U.S. soldiers and common Iraqis. The chapter depicts conditions of Iraq
in the last quarter of 2004 and starts with a television news reel showing disturbance
in Fallujah. A man is telling how Americans are bombing, shooting and killing
innocent people. The text that appears on screen is, ―U.S. led Fallujah offensive.‖
America is controlling all sorts of communication from Fallujah. Nobody is allowed
to enter and help people. People gathered in Abu Hanifa mosque in Baghdad, are
shouting, ―Fallujah we are with you, our hearts and homes are open for the people of
Fallujah.‖ It shows the integrity of Sunni population with Fallujah people as the
leadership of Sunnis is also from Fallujah. Dr. Riyadh‘s discussion with U.S. soldier
is an attempt to make him realize any severe reaction from Iraqi population.
Considering the prevailing conditions, Carlos under the umbrella of UN assures the
support of international community to conduct credible elections. The chapter focuses
on the victimization of Sunni population. In a total of sixty nine dialogues, sixty five
are in direct cinema mode while four statements appear as text on screen.
‗Life in Adhamiya‘ is the title of chapter four that lasts ten minutes and fifty
seconds. The chapter is constituted through Dr. Riyadh, his family, security
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contractors, patients, common people, and TV newsreel. Adhamiya is an Iraqi city
with Sunni population. The main theme is to depict factional issue in the politics of
Iraq. The news reel shows four people killed at Abu Hanifa Mosque in Adhamiya.
The incident happened during Friday prayer when Iraqi National guard and U.S.
forces raided the mosque. Dr. Riyadh‘s family was also there for the prayers. They
discuss how Americans were shooting innocent people. The daughter of Dr. Riyadh
says, ―What kind of life is this? Just stay home! No mosque, No prayers.‖ Due to
insecurity, Iraqis are confined to their homes. Sheikh of Abu Hanifa Mosque tells how
the invaders sprayed his face with something red. It shows that the attempt is made to
irritate and terrorize innocent people. Scenes from voter registration desk show
election security people. They received a report of a car bomb blast. Peter Towndrow
is a private security contractor. He shares in his briefing that the threat in Sunnis areas
is high before polling day. Next scene depicts explosion in Adhamiya. Dr. Riyadh‘s
wife believes that Dr. Riyadh can better serve his people in the capacity of doctor. She
does not like his participation in politics. His lady patient from Najaf tells how she is
forced to leave Najaf and earn because her husband and brother-in-law are serving in
Mahdi Army. She receives financial help from Dr. Riyadh for her survival. The
chapter focuses on insecure condition in Iraq in the backdrop of U.S. military forces
and sectarianism. Out of one hundred and twenty seven dialogues, one hundred and
twenty one are in direct cinema mode while six are in voice of authority mode. The
dominant mode is direct cinema. Non-diegetic sound is used for seventeen seconds.
Chapter five is titled as ‗Gun Deal‘ and lasts six minutes and forty five
seconds. The main participants include Peter Towndrow, election security, Kurdish
militia, and security sub-contractors. The chapter depicts scenes of Northern Iraq that
is Kurdistan. Peter Towndrow gets another security contract for Kurdistan. He is

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engaged in a deal for getting modern weapons. China and Russia are manufacturing
and supplying AK47, the latest gun. Peter is interested in making a deal with Russia
to buy AK47. The next scene depicts Iraqi people in a car discussing about Saddam.
They are happy for the imprisonment of Saddam. They consider Saddam a cruel
dictator who has been victimizing twenty five million people of all ethnicities
including Shia, Sunni, Arabs, Kurds, Turkmans, and Christians for a period of more
than thirty years. Kurdish people are grateful to America and George Bush for
liberating them from Saddam. They think that Arabs are terrorists as they have learnt
from Saddam how to behead, electrocute, mutilate bodies and cut the tongues out of
people. Driver is of their view and says that Arabs dipped people in sulfuric acid to
burn them. Due to prevailing circumstances, Kurdish security sub-contractor is not
sure about elections. However, Peter says that George Bush wants to conduct
elections on time. Baghdad is facing lots of problems. There is no water, no power,
and no security in Baghdad. That is why Kurdish security sub-contractors do not see
the possibility of elections on time. The chapter focuses how more weapons are
imported for security concerns but the result is increased killings of innocent people.
America‘s only concern is to conduct elections and she is not interested in
establishing a social welfare state. People are deprived of basic needs of life. In a total
of eighty one dialogues, fifty eight are in direct cinema mode and twenty one are in
talking heads. Two statements appear as text on screen and considered as voice of
authority mode. Non-diegetic sound is absent in the chapter.
‗Bad Things Can Happen‘ is the title of chapter six that lasts seven minutes
and eighteen seconds. The main participants include Dr. Riyadh, U.S. military
officers, Peter Towndrow and Captain King. The chapter starts with Dr. Riyadh
pursuing Sunni people to participate in elections. He neither favors any delay nor any
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boycott of elections. During a military training, a U.S. military officer briefs about the
anti American sentiments among Iraqis. People are attacking American military
officers with AK47. He instructs his people to be careful as bad things can happen any
time. At Korean military base in Kurdistan, Peter is talking to the security officers.
The contract with Peter and his staff is to provide security for voters registration and
ballot phase. Due to the increasing antagonism among Iraqis towards Americans,
Peter decided to serve in simple clothing and not in uniform during ballot phase. The
purpose is to generate the feelings of Iraqi elections and not Americans. The chapter
lasts on a TV newsreel stating, ―This morning during rush hour four election workers
were dragged from their cars and executed.‖ The incident happens six weeks before
elections. The chapter focuses that besides of all security measures insecurity prevails
because Iraqi people are taking elections in different perspectives. In a total sixty five
dialogues, twelve are in talking heads mode and fifty three are in direct cinema mode.
Non-diegetic sound is used for two minutes and twelve seconds on talking heads
mode.
‗Ballot Number 351‘ is the title of chapter seven that lasts five minutes and
seventeen seconds. The main participants include Dr. Riyadh, election commissioner,
election candidates, Fox news correspondent David Piper anchor and its anchor.
Election commissioner allots numbers to different political parties through lottery and
Islamic Party got number 351. The chapter is named after the party number. The
scene is followed by discussion among Islamic Party candidates. Dr. Riyadh is
convincing them to participate and get representation in the assemblies. He considers
it an obligation and religious duty as God Almighty has blessed them with the
beautiful country. Another candidate says, ―Our religious and wise scholars agree that
it is necessary to push back and resist an enemy who tries to take over a Muslim
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country. The question is, can we achieve this by participating in these elections or
not?‖ The opposing arguments include that Iraqi people are being killed everyday.
―…if one person‘s freedom, one person‘s dignity is being abused, such elections
should be stopped. The whole nation should stand on its feet and stop the elections.‖
The scene is followed by a news story on Fox TV regarding boycott of elections by
top Sunni candidate. According to the correspondent David Piper, this step can be
damaging for the credibility of elections. The reason given by Iraqi Islamic Party for
the boycott is as follows; ―The persistence violence will stop people from voting in
the north and west of the country where Sunnis are concentrated‖. The chapter
focuses on the apprehensions of Iraqi Islamic Party regarding elections. In a total of
forty seven dialogues, twenty eight are in direct cinema, sixteen in talking heads and
three statements appear as text on screen. Non-diegetic sound is used for nineteen
seconds only for the chapter transition.
‗Two Weeks Before Elections‘ is the title of chapter eight that lasts nine
minutes and twenty nine seconds. The main participants include Carlos Venezuela,
Dr. Riyadh and Edward Wong who is the correspondent of New York Times. The
chapter focuses on the confusion and ambiguity regarding election participation in
Sunni population of Iraq, two weeks before elections. Carlos Venezuela has been
involved in fourteen elections on behalf of U.N. He describes two reasons for the
importance of elections; level of violence and escalating interest of many actors. He
views that since the election certification period is over, it does not matter if any party
boycotts the elections. Names of the candidates are printed and now the choice is with
people. He says, ―…it is very likely that one of the parties that have withdrawn will
have people elected.‖ Under such conditions, it will be the party decision to accept the
seat or not. According to election police training instructor, trainers are playing an
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important role by participating in the first democratic elections and people throughout
the world will be watching their show on television. However, a trainer objects on
using the word show. Edward Wong visits Dr. Riyadh‘s clinic and is very pleased to
see the facilities being offered. Edward Wong meets Sheikh of Abu Hanifa Mosque
along with Dr. Riyadh. Edward shares that New York Times is supporting the boycott
of elections. However, Dr. Riyadh considers participating in provincial elections as
Baghdad is important governorate. Non-diegetic sound is used for one minute and
twenty eight seconds. All the ninety five dialogues are in direct cinema mode however
eight statements appear as text on screen.
‗Kidnapped‘ is the title of chapter nine that lass in seven minutes and forty
four seconds. The main participants include Dr. Riyadh and his family, Yasir‘s father,
driver and U.S. security officers. The chapter focuses on insecurity prevailing
throughout Iraq and ends on the sound of bomb blast. Yasir, son of a physician, is
kidnapped. Yasir‘s father approaches Dr. Riyadh for help. He tells Dr. Riyadh how
roads are blocked and American soldiers are on streets. One of the soldiers reported
the incident of kidnapping to the American Army checkpoints. They are busy in
shifting electoral goods from warehouses to electoral points. Bomb blast in heard and
the scene is flowed by TV newsreel. There is a news of two bomb blasts; one in a
school likely to be a polling center and other at a police station. Another news story is
about militants‘ campaign intimidating voters ‗to turn the polling stations into the line
of death.‘ Yasir‘s father is extremely disappointed however, Dr. Riyadh‘s wife asks
him to have faith in God as whatever happens is written by God. Dr. Riyadh analyses
the prevailing conditions in Iraq and considers oil as a bone of contention. He wants a
peaceful Iraq even if disintegrated. All the one hundred and five dialogues are in
direct cinema mode. Non-diegetic sound is used for fifteen seconds only.
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‗Dad, Are You Going to Vote‘ is the title of chapter ten that lastseleven minutes and
thirty eight seconds. The main participants include Dr. Riyadh‘s family and U.S.
security officer. The chapter depicts the indecisive situation of Sunni population on
polling day. The chapter starts with bird chirping followed by bomb blast and gun
shots that can serve as symbols. Polling arrangements are covered. Kleenex is also
provided on the polling centers to wipe voters‘ finger ink marks. Dr. Riyadh‘s wife
shows her concern for filming voters as they can be identified and killed later. She
does not want to go for voting and considers that Iraq is lost. She thinks that Saddam
Hussein destroyed Iraq and the people did not do anything to save it. According to
U.S. soldiers, Iraqis are treating polling day as a great holiday while TV news reel
comments on the boycott of some political parties and security situation. Media is
apprehensive about the reluctance of millions of Iraqis from participating in the
elections. After casting vote, Dr. Riyadh is depicted offering his prayer. The chapter
ends on TV newsreel showing George W. Bush. He congratulates Iraqi people for
holding successful elections. There are three national songs integrated in the chapter
that set the polling activity in a patriotic context. All the one hundred and thirty three
dialogues are in direct cinema mode. Non-diegetic sound is used for two minutes and
thirty six seconds.
‗Life is a Tragedy‘ is the title of chapter eleven that lastsfive minutes and
twenty three seconds. The main participants include Dr. Riyadh and his family. The
chapter depicts situation one day after the elections. Gunship helicopters are
patrolling. Dr. Riyadh‘s family is very apprehensive about the prevailing conditions
of Iraq. TV newsreel depicts the same perspectives. If elections in Iraq fail, it can lead
the entire region into chaos. But if the elections prove a success, Americans are
justified to do the same experiment in the entire Middle East. That is why the chapter
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is titled as ‗Life is a Tragedy.‘ Dr. Riyadh‘s comment is very significant as he says,
―Man is killed over his blood, honor and religion.‖ Dr. Riyadh‘s wife shares good
news of Yasir‘s arrival who was kidnapped. There is an environment of fear, hope,
threat and insecurity. Election results are announced and the number one party with
4,750,295 votes is United Iraqi Alliance. Iraqi Islamic Party gets only 21,342 votes.
Dr. Riyadh is very disappointed and feels quitting Iraq. All the fifty three dialogues
are in direct cinema mode and one statement as text on screen appears in the start of
the chapter to tell about post election scenario.
Chapter twelve is the ‗End Credits.‘ Before the credits, text appears on the
screen to suggest some facts and figures about Iraq. The text says, ―58% of Iraqis
voted in the elections on January 30th, 2005. Forty four people were killed at polling
sites. At least 100,000 people have died of war-related causes since the U. S.
occupation began. The majority of Sunnis boycotted the elections. The turnout in
Fallujah was 2%. Dr. Riyadh was not elected to the Baghdad Provincial Council.‖
Though the main focus of the film is not religion but religion is intertwined. One of
the dominant discourses is politics of Iraq that has an intrinsic relationship with
religion. Sectarianism and its manifestations in Iraq are also depicted.
Film‘s running time is 90 minutes and non-diegetic sound is used for 15
minutes only. The film was nominated for Oscar. Moreover, the film won ‗Inspiration
Award Full Frame‘ and was nominated for ‗Independent Spirit Award.‘
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Figure 6.9 Interference level of the filmmaker in the film ‗My Country, My
Country‘
The filmmaker, Laura Poitras has applied direct cinema mode for maximum
time and on maximum dialogues. The filmmaker is trying to be objective and neutral
as the following graph shows. Overall DVD chapter titles are supportive to the
perspective of Dr. Riyadh, the main participant. Chapter titles, non-diegetic sound,
juxtaposing, sequencing of the scenes is facilitating the filmmaker to amplify and
extend the main argument of the film. American intervention is criticized. The film
proposes that citizens of Iraq should solve their problems as culture of Middle East is
completely different from America. It criticizes the attempts of installing democracy
as it can not help Iraqis. Inter-textuality in the form of text on the screen and
application of other modes facilitate the filmmaker in frame-setting. The film depicts
how politics and religion-related issues are intermingled.

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6.2.1.3 Qualitative Analysis of „Iraq In Fragments‟
Iraq in Fragments provides a kaleidoscopic view of life in Iraq. The film
comprises of three parts. First part deals with Sunni Arabs in Baghdad, second part
covers radical Shia Mahdi Army militia Moqtada al-Sadr and the last part depicts
Kurds in the north of Iraq. Instead of interviews and voice over commentary, video
footage with the talking heads (participants‘ narration) and direct cinema modes make
the film more expressionistic. The title of the film is symbolic. It refers to politically,
culturally and ideologically fragmented Iraq as well as the films structure. The film
brings forth Iraqi peoples critical perspective on the US occupation of Iraq. The film
is directed by James Longley as a part of the Iraq Media Action Project for film
collection. It was premiered at the 2006 Sundance Film Festival as well as nominated
for an Academy Award for Best Documentary Feature Film. In 2007, the film was
nominated as Best Documentary for Toronto Film Critics Association.
First chapter is titled as ‗Mohammad of Baghdad‘ and lastsfour minutes and
fifteen seconds. Mohammad, the main participant of the chapter, is a Sunni Arab boy
who works for his abusive and unkind boss in his auto workshop. Voice over of
Mohammed is integrated with video footage of Baghdad. The narrative of beautiful
Baghdad transforms into war stricken Baghdad. Footage serves as an argument to the
narrative of Mohammad. Viewpoint of James Longley, the filmmaker, reflects
through scene selections, frames, light and sound. The chapter depicts that how the
world becomes scary for Mohammad after the US attack on Iraq. All the sixteen
dialogues are delivered by Mohammad. Juxtaposing of talking heads, video footage
and voice over illustrate the character of Mohammad. The chapter depicts Baghdad
through Mohammad‘s perceptions. According to Mohammad, America has disrupted

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the peace of Baghdad. Non-diegetic sound is used for three minutes and seventeen
seconds.
‗He Loves Me Like His Son‘ is the title of second chapter that lastsfive
minutes and twenty five seconds. The main participants are Mohammad and his uncle.
There is a continuity of first chapter as the objectives and reasons of US attack are
discussed. Direct cinema depicts Mohammad‘s uncle saying that attack is just oil
politics. He argues that why America is burning and destroying everything, why she is
not burning oil ministry. Saddam ruled over the country for thirty five years and
brought a lot of destruction but America is worse than him. Talking heads depicts
Mohammad who considers his boss like a father, loving and affectionate. Mohammad
says, ―He is nice to me. He does not swear at me or beat me.‖ However, the next
scene in direct cinema depicts the boss smacking Mohammad‘s head and calling him
a dog. Talking heads depicts boss discussing that Muslims should forget all their
differences. He suggests unity as a solution to Muslims‘ problems. The chapter shows
how Mohammad is being exploited by his tyrannical boss and still thinks good for
him. It is symbolic to America‘s role as a boss and Iraq as Mohammad. Though boss
is exploiting but Mohammad takes him as a well wisher. For a total of seventy two
dialogues, thirty are in direct cinema and forty two are in talking heads mode. Direct
cinema beautifully brings forth the contradictions in Mohammad‘s perceptions and
the actual conditions. Post production treatment includes juxtaposing of talking heads
and music that facilitate filmmaker to inculcate his viewpoint. Non-diegetic sound is
used for thirty nine seconds.
Chapter three is titled as ‗Only the Rich Benefit‘ and lastssix minutes and
forty two seconds. The chapter points out various horizontal and vertical cleavages in
Iraq through Mohammad, his boss and his school. Mohammad‘s boss shares his views
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in the perspective of US attack. He views that poor are the ultimate victims in case of
any miseries. Rich always get benefits if introduced any. He says that the country is
fragmented in Shia and Sunni classes. The Dawah party belongs to Shia and jobs are
bestowed upon their workers. Juxtaposing of scenes in direct cinema shows how the
boss is exploiting Mohammad who is an orphan. He is not getting any salary.
Mohammad says, ―I worked and dreamed. Now I kept working and stopped
dreaming.‖ Mohammad starts going to school. Direct cinema depicts assembly and
classes in school. Teacher motivates students to work seriously so that they can push
out imperialism and bring reforms in Iraq. Teacher shares about God and prayers.
Children learn first chapter of Quran by heart. The following scene is a criticism on
practicing Muslims. Mohammad‘s boss says that if you treat well with drunk and
sinners, they return more than they receive. He says, ―But one who prays and calls
himself a God-fearing man, in matters of work or money he will always screw you.‖
It shows that the practicing Muslims are not fair in their dealings. Juxtaposing of
scenes points out that religious education is not bringing any good change in the
society. Video footage, scene selection, music, frames, non-diegetic sound and light
assist to highlight exploitations and differences existing at different levels. Out of
seventy dialogues, forty five are in talking heads and twenty five are in direct cinema
mode. Non-diegetic sound is used for one minute and twenty eight seconds.
‗My Father is Dead to Me‘ is the title of fourth chapter that lastssix minutes
and twenty three seconds. Mohammad‘s father was a police officer but he disappeared
and no body knew his whereabouts. It seems as if he has vanished forever. He talks
about Saddam‘s imprisonment and his interrogation telecasted on television. They
were searching his mouth, beard, and teeth which were very funny. Saddam was
shown as a brutal person, holding a sword in his hand. Mohammad‘s conversation

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shows that even Iraqi children know very well that they live in a hard and tragic
country. Mohammad‘s boss shares how Americans killed his brother and a sister for
not stopping on their orders. Mohammad says that it is very scary to live in Iraq.
America‘s only concern is oil. She is going to install a new president to execute its
plans. Mohammad wants to go abroad. He thinks that nothing can happen to you in
abroad. He wants to be a pilot so that he can visit beautiful and peaceful countries.
Direct cinema depicts that after four years in school, Mohammad is unable to write
even his father‘s name. It shows the pathetic condition of education in Iraq. Out of
seventy four dialogues, fifty two are in talking heads and twenty four are in direct
cinema mode. Video footage and juxtaposing of talking heads helps to portray
Muslims‘ poor conditions. Non-diegetic sound is used for one minute and forty five
seconds.
Chapter five is titled as ‗School or Work‘ and lasts six minutes and twenty
seconds. The participants include Mohammad, his teacher and his uncle. Main theme
is to depict Mohammad‘s pathetic conditions due to poverty. Mohammad has to
decide between school and work. He is failing for the last four years that is why he
prefers to join work at his uncle‘s auto workshop. Mohammad says, ―In my uncle‘s
shop nobody beats me, nobody swears at me and I feel relaxed.‖ The dialogue depicts
that Mohammad has compromised on his dreams. Direct cinema is the dominant
mode in this chapter. Out of one hundred and two dialogues, ninety one are in direct
cinema and eleven in talking heads mode. Non-diegetic sound is used for one minute
and fifty seven seconds.
Chapter six is titled as ‗Sadr‘s South‘ and six minutes. The chapter highlights
perception and perspectives Shias regarding political scenario in Iraq. The focus is on
the followers of Shiite theocratic Sadr movement, depicted through direct cinema.
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The Sadr followers are preparing for elections. The chapter opens with a politicized
sermon by a young child at mosque. The address revives the spirit of freedom and
hope. The speaker says, ―We will rise up like a great earthquake be gone, oppression
and torture of Saddam.‖ Saddam was considered as a blasphemer by Shiites. Video
footage of a flagellation procession is depicted over the clerics address. The cleric
says, ―Saddam knows that the Shia is the most revolutionary of all Muslims.‖ The
cleric opines that after the Islamic revolution in Iran, Saddam created differences
between Shia and Sunni Muslims of Iraq otherwise there were no differences. Saddam
took Shia as alarming to over throw his government. That is why he imposed
sanctions on flagellations and other Islamic customs and traditions. Direct cinema is
used to depict all the twenty seven dialogues. Video footage and juxtaposing of scenes
reflects Shia activities and their viewpoints. Non-diegetic sound is used for three
minutes and thirty seconds.
‗We Are Not Terrorists‘ is the title of chapter seven that lastseight minutes and
thirteen seconds. The chapter depicts that Iraqis are well aware that factional
provocation is being promoted to serve peculiar purposes. During the First World
War, General Maude took Baghdad and tried to promote factionalism. At that time,
Shia and Sunni were united and the plan failed. Prevailing circumstances suggest that
is the need of hour to forget all the factional differences in favor of a liberated Iraq.
The chapter opens with Sheikh Aws, addressing to Muslims gathered for prayers. He
comments about America‘s presence in Iraq, ―They came to teach us of western
democracy, killing, displacement and torture, arrests without charge in the land of
Iraq. This is the democracy they have brought.‖ Iraqis think that the actual terrorist is
America. Under the guise of friendship she has entered into the region to save people
from a tyrant ruler and to install democracy. According to Sheikh Aws, ―America is
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plundering wealth and wants to control the minds.‖ He shares that Islamic and
democratic movements can liberate Iraq through direct general elections by secret
balloting. In case of any resistance by occupation forces, the Islamic movement is
willing to lead disobedience movement. Local elections will prove that national
elections are possible. Advisory Council in Iraq was not an elected council. That was
why Shiites were determined to replace it by elected members. Out of sixty five
dialogues, fifty six are in direct cinema while nine dialogues are in talking heads
mode. Juxtaposing of scenes and talking heads is supportive to the idea that Iraqis
want to liberate their country through a peaceful process. The chapter completely
conveys that Iraqis do not want the presence of U.S. in the region. Non-diegetic sound
is used for two minutes and six seconds.
‗God is on Our Side‘ is the title of chapter eight that lasts eight minutes and
thirteen seconds. The chapter focuses on the objectives of Moqtada al-Sadr to
implement Sharia and drive America away from the region. According to Sheikh
Aws, America has introduced alcohol in the region which the Mehdi army will
cleanse. The chapter depicts alcohol sellers being arrested. A woman, who is wife of a
detainee, pleads for release of her husband. The conversation reflects that for common
people, Saddam has become a symbol of tyranny. Children are also into reciting
Marsiyya and flagellation. Out of fifty one total dialogues, forty five are in direct
cinema while six are in talking heads mode. The video footage serves as evidence to
the statements of Sheikh Aws. A Non-diegetic sound is used for five minutes and
twenty five seconds to reinforce the impact of flagellation.
‗Is This the Freedom‘ is the title of chapter nine that laststhree minutes. The
chapter depicts response of Iraqis to the US occupation and policy in Iraq. Sadrs‘
people want to evacuate the region from Americans because they have trampled their
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holy places and beat their Imams. A demonstration is shown calling for the release of
Mustafa Yaqobi, one of the leaders of Al Sadr. A victim of the demonstration in a
hospital, through direct cinema, questions the kind of democracy introduced by
Americans. He comments that hundred Saddams have been produced to replace the
system. The chapter highlights that southern people are against the system introduced
by America. They want to implement Sharia. Out of fifteen dialogues, eleven are in
talking heads while four are in direct cinema mode. Juxtaposing of scenes is
supportive to the main discourse. Non-diegetic sound is used for two minutes and
thirty seconds.
‗Who Can Trust America‘ is the title of the last chapter of part II. The chapter
is constituted through Moqtada Sheikh Aws, audience, radio and television reports.
The chapter starts from the comments of one of the citizens, ―America promised a life
of comfort, freedom, democracy. But we knew it was all lies.‖ The dialogue shows
people‘s feeling of betrayal at the hands of America. News relay on radio shares that
Iraqi detainees are tortured in Abu Garib prison. Television report serves as a
continuity of radio news. However, the report asserts to publicize each and every
detail of Iraqis. News of torture in Abu Garib can effect upon Americas image. Sheikh
Aws in a public address says that America is supporting Israel and Iraqis think that
she is helping them. Sheikh Aws declares the resistance as a holy war in which
faithful are glorified and spies meet a grievous end. Television chunks, inserted in the
chapter, apparently favor Iraqis. For example a television report says that Iraqis
motivation is Vietnam because they have successfully expelled America. Some
people consider that America came as liberator and became occupier. She knows only
how to use force. Others think that America supported Saddam for thirty five years
and then turned against him. America is killing innocent people in the name of peace
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and democracy. It is necessary for US to know the culture in order to resolve any
issue. Direct cinema shows people discussing, ―It‘s impossible to change us with the
barrel of a tank.‖ A crack of explosion followed by the statement, ―America wants the
bombings‖ serves as evidence. The conversation reflects Iraqis perceptions about
America. Out of sixty two dialogues, fifty one are in direct cinema and nine in talking
heads mode. Non-diegetic sound is used for two minutes and forty seven seconds
while the total time of the chapter is nine minutes and twenty seconds.
‗Kurdish Spring‘ is the title of chapter eleven that lasts five minutes and
eleven seconds. Part III focuses on north of Iraq where majority are Kurds. The
chapter highlights striking differences between Arabic and Kurdish cultures. The
culture in Kurdistan is non-violent, pro-American, and moderate to the core.
Kurdistan is the part of Iraq where the war is already over. Filmmaker selects a
Kurdish farmer‘s family to depict north side of Iraq. The participants include
Mahmoud, Suleiman, Bizhar and a school teacher. Mahmoud has to discontinue his
studies in his childhood because of his father‘s death. Now he wants his children to
study. Bizhar and Suleiman are friends and classmates who want to be teacher and
doctor respectively. The chapter depicts the environment, lifestyles and aspirations of
Kurdish Iraqis. Out of fifty six dialogues, thirty three are in talking heads while
twenty three are in direct cinema mode. Music and country side scenes depict peace
and calmness. Non-diegetic sound is used for two minutes and fourteen seconds.
‗I Will Die Soon‘ is the tile of chapter twelve that six minutes and twenty nine
seconds. Main participants are Mahmoud and his family. Mahmoud, an old man, has
six sons. He wished to devote one of his children for God by becoming Imam. He
believes in the domination of Islam throughout the world and quotes Quran as a
reference for his belief. He refuses to accept that Kurds brought America to Iraq.
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According to Mahmoud, suicide bombing is not Jihad. It is a wrong perception. Since
Kurds are not involved in suicide bombing, Mahmoud thinks that they are real
Muslims. Kurds think that Saddam Hussein brought destruction in the region that
resulted in the loss of unity and brotherhood. Kurds perceive Saddam as an oppressor
and America as a liberator. Mahmoud compares Jews with Kurds. He says that Jews
are fewer but they have their identity and enjoy their own government. Kurds do not
enjoy such things. All the forty seven dialogues are in talking heads mode. As
compared to the previous parts, this part is mostly constituted by talking heads mode.
The image of Arabs in part one appears as uneducated, ill-mannered and oppressors.
Kurds appear to be peaceful, hardworking and democratic. Selection of the
participants and video footage facilitates to constitute these images. Non-diegetic
sound is used for three minutes and fifty seven seconds and appears to be neutral,
used as a norm.
‗The Ballot Box‘ is the title of chapter thirteen that lasts five minutes and
thirty three seconds. The chapter starts with people offering their prayers. Large part
of the chapter is in direct cinema mode depicting Election Day. The Imam describes
the importance of voting. Kurds are persuaded to cast vote in order to secure seats in
Iraqi National Assembly. The power of vote is described as, ―The vote that you will
cast is better than 100 bombs and 200 boxes of bullets.‖ direct cinema mode as a
testimony affirms that democracy is the solution to all the Kurdish problems. Forty
one dialogues are in direct cinema and nine in talking heads mode that make a total of
fifty dialogues. Elections are emphasized by the filmmaker as the only discourse is
about elections. Non-diegetic sound is used for five minutes and six seconds.
‗How Can It Be Dream‘ is the title of chapter fourteen that lasts five minutes
and seventeen seconds. The title suggests that Kurdish people have a sanguine hope
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for peaceful Iraq. The chapter starts with children playing with snowballs. Song and
music assist to amplify spring season and create a pleasant environment. Suleiman,
the son of Mahmoud, shares his life experiences and routines. He cannot afford to go
to school as his father is old and nobody can bear his expenses. Suleiman works in
brick oven and herds sheep to take care of his father. Suleiman is depicted offering
prayer that is representative of practicing Kurdish people. The chapter represents that
religion dominates the life of Kurds. Children prefer to take care of their old parents
and offer their prayers. That is how religion takes lead in their thinking and practice.
Mahmoud tells, ―Today, everything in Iraq is controlled by America. Nobody can
escape America‘s reach. America is victimizing Muslims throughout the world in the
name of democracy and peace.‖ All the thirty two dialogues are in talking heads mode
and video footage serves as testimony of their arguments. Non-diegetic sound is used
for four minutes and fifty one seconds.
The last chapter is ‗Credits‘ that lasts four minutes and thirty seconds. There
are only two dialogues. ―I am going. God be with you.‖ The dialogues symbolize
America‘s control over Iraq and Iraqis have to fight for their freedom. In reference to
Mahmoud‘s remarks in the previous chapter, where he tells a story of two wrestlers,
the dialogues depict America‘s hegemony over the region. In the story of the two
wrestlers, someone asks whose side is God on. They reply that God is always on the
side of the winner. In the case of Iraq and America, the later is strong enough to win.
However, in the simple sense, the blessings of God are prayed for. The film is an
effort to depict the combination of politics and religion in Iraq.
James Longley has utmost applied direct cinema mode and totally ignored
voice of authority mode that is making him less biased. Since direct cinema mode
restricts a filmmaker to control and manipulate narrative structures in certain manner,

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the application of direct cinema mode is appreciated. However, sequencing of scenes,
juxtaposing, chapter titles, supportive non-diegetic sound facilitate the filmmaker in
frame amplification and frame extension. The film proposes that sectarianism in Iraq
is responsible for its instability. The film is divided into three parts to depict Sunni,
Shia and Kurds population of Iraq. Religious practices of Shia population, dominantly
depicted in part II, reflect difference of practices among Muslim population. It is
suggestive of disarray, lack of unity and agreement among Iraqi Muslim population.
The film suggests theses factors as an impediment to the solution of Iraq. The
following graph shows filmmaker‘s mode application in the entire film.
Figure 6.10 Interference level of the filmmaker in the film ‗Iraq in Fragments‘
minutes. The film was nominated for Oscar however it won Youth Jury Award in
Amnesty International Film Festival, Gold Hugo Award in Chicago International Film
Festival, Jury Award in Full Frame Documentary Film Festival, Best Documentary
Award in Gotham Awards, Nestor Almendros Award in Human Rights Watch

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International Film Festival, IDA Award in International Documentary Association,
Sundance Film Festival Award. The film was nominated for Emmy Awards,
Mannheim-Heidelberg International Film Festival, and Directors Guild of America.

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6.2.1.4 Qualitative Analysis of „Deliver Us from Evil‟
Amy Berg and Mathew Cooke are the producers of the Oscar-nominated
documentary feature film for the year 2006. The documentary has won ‗Boston Film
Critics‘ award for the best documentary and ‗New York Film Critics Circle‘ award for
the best documentary. The documentary recounts the tragic story of sexual abuse by a
revered Catholic priest, Father Oliver O‘Grady. The film depicts the confessions from
the victims and their families and highlights the legal depositions of O‘Grady‘s
superiors regarding corruption and betrayal. Amy Berg was working with CNN when
she came across the news report of children molestation by a priest. She says, ―This is
the story that I reported for CNN when I was working there before and then I left to
research and produced this film.‖ Amy tells, ―Just recently since the film came out,
there have been two different courts that have actually sanctioned for the victims to be
able to pursue charges against the Vatican, some type of fanatical operations. So, this
is for the first time ever happened and they are allowing them to pursue charges…‖
Amy Berg and Mathew Cooke bring out the sharp conflicts within the Catholic
Church. In ‗USA Today‘, Claudia Puig writes about this documentary ―It should be
seen by people of all faiths and by anyone concerned about the well-being of
children.‖
The film starts with the quotation of Jesus Christ from Gospel of Thomas, ―If
you bring forth what is within you, what you bring forth will save you. If you do not
bring forth what is within you, what you do not bring forth will destroy you.‖ The
filmmakers, in the very beginning have presented the justification of making
documentary on a proscribed issue as the quotation serves as an argument from the
filmmakers. ‗Finding Peace‘ is the title of first chapter that lasts four minutes and fifty
seconds. The participants include Father Oliver O‘Grady, Maria Jiyono and Bob
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Jiyono. Father O‘Grady, an Irish, confesses his guilt of abusing children. Maria and
Bob, Irish and Japanese respectively, are the parents of Ann Jiyono, a victim of Father
O‘Grady. Text form the Gospel of Thomas is followed by O‘Grady‘s confession and
repentance on his evil deeds. Ann‘s mother Maria was raised as a strict Catholic in
Ireland. Bob, a Buddhist but used to go to church, explains to his wife about himself,
―Before I even met you, I think I used to go to the chapel, just for peace and quiet.‖
Bob was baptized before getting married and tells that he found peace and comfort in
the church and believed his wife to be a shining example of good Catholic. After
marriage Bob and Maria moved to America and had a daughter in 1966. They were
very happy in their small world. The title of the chapter is suggestive as Bob, although
a Buddhist finds church a place of peace and serenity. Title is symbolic for O‘Grady
as he is trying to find peace by making confession. Direct cinema mode is used to
depict O‘Grady in the church. Text, footage and juxtaposing of talking heads are
supportive to the discourse. Talking heads mode is used for all the forty two dialogues
delivered by practicing Christians.
‗Father Ollie‘ the title of chapter two starts from church scenes where
O‘Grady is reciting prayer. The participants include O‘Grady, Father Tom Doyle and
Maria. Chapter lasts two minutes and thirty eight seconds. O‘Grady considers himself
a very compassionate and concerned person towards children. He says, ―I like helping
people, and as one of my priest friends said to me once, ‗You are a people person‘.‖
In 1971, Maria and Bob had their first interaction with O‘Grady. Irish background and
religiosity served as the contributing factors for the informal interactions with
O‘Grady. These factors helped him to abuse Ann. Church hierarchy protects its
serving people even if they are criminals. Father Tom Doyle, Canon lawyer and
historian explains about the people who serve church, ―There are two types of people
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in the Church; the hierarchy in the sacred pastures, as they call them, who are picked
out by God to lead, and the vast throng who are the lay people, and their duty is to be
docile, obedient followers.‖ According to Father Tom Doyle the system is a monarchy
that protects individuals serving the Church. Church delegates all power to these
individuals because it believes that God wants ‗those individuals to be powerful in
order to control this portion of reality called earth‘. The scene provides an explanation
regarding O‘Grady‘s protection by the Church. The chapter is a progression to the
climax, highlighting how things happened. Different dimensions and accounts related
to O‘Grady are depicted through talking heads mode. All the twenty six dialogues are
by practicing Christians. Dialogues of Father Tom Doyle are a criticism on Church
hierarchy and system. Non-diegetic sound is absent in the chapter.
Chapter three is titled as ‗Sleep Away Camp‘ that lasts three minutes and
thirty five seconds. The participants include O‘Grady and Nancy Solan. The main
theme is to depict O‘Grady‘s misconduct with children. Nancy, a victim of O‘Grady,
was a student at Holy Spirit school in the Sacramento Diocese. She met Father
O‘Grady there. She took O‘Grady as a friend and a blessing of God as she mentioned
this in a letter to her mother, ―I met a new friend and his name was Father O‘Grady‖.
When the other girls at the camp were suffering from poison oak, Nancy thought that
she did not have poison oak because of sleeping with Father. O‘Grady is depicted as a
priest who tries to get close to children as well as their parents and wins the favors,
sympathies and trust. O‘Grady admits that he feels aroused at the sight of children in
swimsuits, in underwear or naked but don‘t feel aroused at the sight of men or
women. The confession is followed by Nancy‘s remarks, ―My last memory of Oliver
is severe pain, before I black out.‖ The title depicts missionaries‘ camps as awful
places. Talking heads is used for a total of thirty dialogues, all by Christians. Nancy‘s
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dialogues reveal her childhood perception about priests as saviors. Non-diegetic
sound is used for fifty two seconds to focus the past of Nancy.
‗Letter of Apology‘ is the title of chapter four that lasts four minutes and fifty
seconds. The chapter‘s main discourses show how the Church dealt with the child
molestation issue. The participants include Jane Degroot, Nancy and O‘Grady. Jane
Degroot is taking part on behalf of Case. Case was pastor of St. Annes Parish where
O‘Grady was a priest. Case‘s memory recall is impaired by illness so Jane Degroot
speaks for Case. When Nancy‘s parents reported the molestation by O‘Grady, Case
investigated the matter and found the reported molestation true. At that time Case said
to O‘Grady, ―Ollie this is outrageous. This is the very type of thing that people can go
to prison for. I want you to sit down and write a letter of apology.‖ Case called Bishop
Guilfoyle and reported the whole situation. Nancy‘s parents approached Bishop
Guilfoyle but he said, ―Oh, I am sure Nancy just misunderstood his actions. I am sure
what she says happened, really did not happen.‖ Bishop Guilfoyle‘s remarks depict
how church hierarchy protects its corrupt fellows. Talking head shows Nancy telling
the reaction of Guilfoyle on showing the letter of apology by O‘Grady. ―His face went
beet-red. He was furious because of the letter.‖ It is depicted that the concerned
authorities took the whole issue very lightly. Talking heads mode is used for a total of
forty one dialogues, all delivered by Christians. Non-diegetic sound is not used in the
whole chapter.
‗Alternate Punishment‘ is the title of chapter five that lasts four minutes and
thirty five seconds. The participants include Jane Degroot, OGrady, Ann and her
parents. The chapter starts with text explaining the transfer of O‘Grady as a
punishment. The chapter enfolds that in 1976, Guilfoyle promised Nancy Sloan‘s
family that Oliver O‘Grady would be sent to a monastery as a punishment. In Catholic

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Church, a priest is like twenty four hours on duty that was why Oliver was offered
overnight stays by some families. Ann‘s family had been putting a lot of trust in
Oliver because they were acquainted with him for twenty three years. Ann‘s father
Bob explains Oliver‘s stay as, ―the church can be hectic…because parishioners may
need help and it was kind of like a relief to get away from work. The duties that a
priest has to perform, should not take up all his time.‖ In Catholics celibacy is
considered as a means of dedication towards religion. Ann‘s family thinks that it
should be allowed for priests to get married because it would help them to understand
what a family is like. Bob shares that whenever he asked the question to a priest,
―How do you know how a family functions?‖ The answer is ―Well, by education,
school.‖ Maria Jiyono after coming to know about Oliver says, ―I hear, you know,
things he did with other families. And I just feel, I never saw that side of him.‖ The
comments show Christians blind trust in their church serving people. Oliver‘s conduct
at Ann‘s home was so perfect that he was considered to be ‗the closest thing to God‘
by Maria Jiyono. Talking heads mode is used for a total of forty nine dialogues.
Juxtaposing of talking heads, text, map and footage are supportive to explain different
aspects of Catholic Church. The chapter is suggestive to bring a few changes in
Catholic Church i.e. priests should get marry and there should be proper training for
priests at ‗counseling‘. Non-diegetic sound is absent in the chapter.
‗Divine Abuse‘ is the title of chapter six that lasts four minutes and thirty
seven seconds. The participants include John Manly, Tom Doyle, Patrick Wall, Dr.
Mary Gail, Nancy, and Monsignor Cain. The issue of molestation is discussed from
historical, theological, and psychological perspective. John Manly, attorney for
Jiyonos explains how being Catholic is different from Lutheran or a Presbyterian.
Catholic teaches that the only way to salvation is through the church otherwise human
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beings are destined for hell. Father Tom Doyle, Canon lawyer and historian discusses
the Eucharist in Catholic theology as the Holy Communion. Eucharist is a Christian
sacrament commemorating the Last Supper by consecrating bread and wine that is
essential to Catholicism. The ritual was not confined to clergy rather a believing
person can celebrate it as a symbol of Christ‘s spiritual presence. Later on it was
politicized as those people were not allowed to participate who remarried but not by a
priest, or gays, or people who vote somebody who approves of abortion. Patrick Wall
is a theologian who explains the meaning of celebrating Eucharist. He says Eucharist
is as ―I as an ordained person with an indelible mark, can make Holy Communion, is
what separates you from me and what separates me from the average person going
down the street.‖ The dialogue shows that Eucharist transforms an ordinary man into
an especial human being and a priest becomes one with Christ. John Manly, attorney
for Jiyonos, focuses on how the priest after Eucharist becomes one with Christ and
then that very priest abuses child. Clergy abuse psychologist Dr. Mary Gail Frawley-
O‘Dea comments that child sexual abuse by the priests destroys a child and the
consequences are ingrained. According to him, ―long-term consequences of being
sexually abused, the spiritual abuse, of being abused by embodiment of the divine.‖
Nancy, the victim, is told by the clergy that vengeance is wrong and meeting with
priest for such motives will lead to punishments from God. Nancy says that she
wanted to realize Oliver the pain she suffered on a regular basis. She says, ―When I
see a Dodge Duster, which was the car that he drove at that time, how I still pull over
and dry heave.‖ According to Nancy, Bishop Montrose knew that Oliver was accused
of child abuse but he said to Nancy, ―We knew that you were being abused, but you
were a girl so, we thought it was normal curiosity. Had you been a boy, we would
have thought something was wrong with it. That would have been absence for him to
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have abused a boy like homosexual.‖ Juxtaposing of talking heads depict that the
Catholic Church protects the evil priests and restricts people to comment on them
negatively. Post production treatment supports the title and the main discourse 'Divine
Abuse.‘ Talking head is used throughout the chapter for a total of fifty six dialogues.
Chapter seven is titled as ‗Uneasy Feelings‘ and lasts three minutes and fifteen
seconds. The chapter depicts how the Catholic people believe in the sanctity of
Church whereas clergymen are involved in malign practices. The participants include
Oliver O‘Grady, Bob Jiyono and Ann Jiyono. O‘Grady tells that how his affectionate
feelings towards kids led him to molestation. O‘Grady reports that while he was
engaged in molestation, a conflict was going on in his mind. Talking heads mode
depicts O‘Grady saying, ―Do I really want to do this? …Yet, at the other side, there
was urges within me to be sexual with him.‖ The conflict between good and bad
within O‘Grady makes him uncomfortable and uneasy which is central and reflected
by the title of the chapter. Bob and Ann are depicted in talking heads mode. They are
discussing pictures of their trip to Ireland for communion. All the thirty four dialogues
are by Christians in talking heads mode.
‗New Bishop‘ is the title of chapter eight that lasts three minutes and four
seconds. The chapter depicts that Church does not remove its Father from the seat,
even if he is involved in heinous activities. Father O‘Grady‘s confession does not
make the concerned authorities to set him aside. The participants include Nancy,
OGrady, Roger Mahony, and Jane Degroot. On screen text tells that after the demise
of Bishop Guilfoyle, Roger Mahony became new bishop. Nancy claims with
reference to Howard‘s complaints that Mahony was aware of the pedophile attitude of
O‘Grady but he remained indifferent. Text of the Howard‘s complaints is shown on
the screen that serves as testimonial to Nancy‘s claim. Mahony, in his deposition
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testimony explains that he tried to castigate O‘Grady. Afterwards, he did not receive
any complaint about O‘Grady from Howard. Mahony in his deposition testimony tells
that being pedophile does not cause a Father to be removed from his seat. The
statement shows apathetic attitude of Church for pedophile. Bob shares that instead of
removing O‘Grady from church, he was transferred to another place amongst the
children. Jane reiterates Bob‘s comments. She says, ―It was as if church was waiting
another tragedy to happen.‖ It means the entire clergy is involved in this scenario.
Text, juxtaposing of talking heads, footage, image of the complaints and deposition
testimony are supportive to highlight the discourse. Talking heads mode is used for all
the twenty three dialogues. Non-diegetic sound is used for fourteen seconds.
The title of chapter nine is ‗Tragedy Waiting to Happen‘ that lasts two minutes
and eleven seconds. The chapter depicts that reporting to the police was the only
thing, O‘Grady was scared of. The only participant is O‘Grady depicted through
talking heads. The chapter starts with the text telling about O‘Grady‘s transfers during
1982 to 1984. O‘Grady has been being transferred to Stockton, Turlock and Lodi
where he continued to abuse children. However, he himself considers that he should
have been removed. The chapter focuses on how the clergymen have been indifferent
to the tragedies happening around them at the hands of priests. All the twenty three
dialogues are in talking heads mode by O‘Grady. Non-diegetic sound is used for
twenty five seconds for chapter transition.
‗Packaged Deal‘ is the title of chapter ten that lasts four minutes and two
seocnds. The participants include Monsignor Cain, O‘Grady, Tom Doyle and Jeff
Anderson. Chapter depicts how O‘Grady was protected by higher authorities. When
O‘Grady told about the issue, Monsignor Cain suggested him to talk to diocesan
attorney about the whole issue. O‘Gradys discussions with Monsignor Cain, Mahony
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and diocesan attorney resulted in extending protection to him. He quotes Mahony
saying, No charge is being filed, but we are moving you on. O‘Grady says, ―A couple
of other parts to the package deal, the bishop, the attorneys and the police department
decided that may be it was best to move me on to another situation out of the
particular county.‖ The Church hierarchy is only concerned about the good image of
Church. Father Tom Doyle, a canon lawyer and historian, tells about the term ‗Bella
Figura‘ used in Vatican Ecclesiastical system which means good impression and good
image. According to Tom Doyle, Roger Mahony was very much concerned about the
image of bishop that should be of a very loyal, orthodox, upright person. Attorney for
the Howard‘s, Jeff Anderson explains why O‘Grady was moved to St. Andrews in
San Andreas. St. Andrews was a far flung area and O‘Grady was out of all checks and
accountabilities. Juxtaposing of chapters is like the building blocks for story narrative
and supportive to the title. Talking heads mode is used for a total of forty eight
dialogues, all by Christians
‗Deposition of Denial‘ is the title of chapter eleven that lasts three minutes and
twenty six seconds. The participants include Jeff Anderson, Roger Mahony, John
Manly and O‘Grady. The chapter begins with remarks of Jeff Anderson who is
attorney for the Howard‘s. He says, ―I had taken the depositions of cardinals,
archbishops, and bishops across this country for 23 years, and what I had encountered
is deception, perjury, denial, and deceit at the highest levels of the Catholic Church.‖
The statement depicts Catholic Church as completely perfidious and corrupted. John
Manly who is an attorney for the Jiyonos, quotes from O‘Grady‘s appointment letter
for San Andreas. The letter says, ―Full care of the souls of that parish in California.‖
The above two quotations explain the deplorable conditions of Catholic Church which
is meant for spiritual development and salvation but indeed molesting kids. O‘Grady
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thanked Mahony for his appointment in a letter. The excerpts from the letter are
discussed by the deposition. O‘Grady writes, ―I sincerely thank you for all that you
have done for me in the past few months. I am particularly grateful to you for your
sensitivity to me and my needs at this time.‖ The text indicates Mahony‘s patronage
to O‘Grady though Mahony consistently denies. Non-diegetic sound is absent. Text of
letters is contradictory to some testimonies. Juxtaposing of talking heads and insertion
of text is supportive to the main theme. Talking heads mode is used for all the forty
two dialogues.
Chapter twelve is titled as ‗The Bishop‘s Response‘ that lasts four minutes and
ten seconds. The chapter depicts how church is in fact nourishing evil. The
participants include John Manly, Mike Walker, Dr. Mary Gail, and O‘Grady. The
chapter starts with John Manlys remarks about Mahony‘s act, ―Its like a scene in the
Gospel where it says that Satan took Christ over the top of a mountain and showed
him all the cities of the world and all the glory over the world and said, this all can be
yours, if you will just sit and bow down and worship me. And I think that‘s what
Cardinal Mahony did.‖ The dialogues depict that Mahony is concerned for his status
and promotion as cardinal at any cost. He is interested in maintaining a good image of
the priesthood. Detective Mike Walker tells that the youngest victim of O‘Grady was
nine months old baby. Walker shares about O‘Grady, ―He has admitted that he spent
as much time grooming victims as he did being a priest and he was a priest for over
30 years, spending every waking hour planning abuse, executing abuse, thinking
about abuse.‖ Dr Mary Gail is a clergy abuse psychologist. He reports about O‘Grady,
―He is a very dangerous man and an aggressive, assaultive person who apparently
would do anything to get to his victims including having sex with their parents.‖
O‘Grady is exposed as a very dangerous person through testimonies of sheriff,

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psychologist and attorney of Jiyonos but the response of bishop towards O‘Grady is
very pathetic. All the forty dialogues are projected through talking heads mode
without any non-diegetic sound.
‗Easy Targets‘ is the title of thirteenth chapter that lasts four minutes and
thirty seconds. The main participants are Adam and his parents. Adam, the victim of
O‘Grady, shares how O‘Grady has been sodomizing him for years. For Adams
parents, it was hard to think negative about O‘Grady because Catholics believe in
celibacy of the clergymen. The chapter depicts O‘Grady‘s tricks to make children an
easy prey in the new county. Footage of the places pointed out by Adam is included.
Talking head mode is applied in all the thirty one dialogues without any non-diegetic
sound.
Chapter fourteen is titled as ‗Investigating Reports‘ and lasts five minutes and
fifty seconds. The chapter depicts police and press as redeemers. The participants
include police officer and Jiyonos family. In 1993, a family reported to the sheriff
department about a priest‘s molestation in San Andreas. O‘Grady was molesting two
young boys of a family. Maria Jiyonos response to O‘Grady was, ―If you did not do
any of these things to children, you have no problem. There is no way anybody can
accuse you of.‖ O‘Grady admitted that he had a problem nine years ago. However,
police investigations reveal that O‘Grady has been involved in child molestation since
mid 70s. Community people knew about him but nobody reported to police. Police
officer tells that at that point police, obtained arrest warrants for Oliver O‘Grady for
multiple counts of lewd and lascivious acts with minors. Jiyonos could not believe
that was why they made arrangements for O‘Grady‘s bail. They also contacted his
family in Ireland. When the story appeared on the front page of newspapers, Bob
Jiyono asked her daughter about O‘Grady, ―Did he ever touch you?‖ Ann‘s
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confirmation was like an explosion. Bob remembers O‘Grady saying his prayer in the
morning, holding Bible in his hands. He could not believe O‘Grady molesting his five
year old daughter at night. Dialogues depict how culture effects our perceptions.
Social prestige of clergymen served as hindrance to perceive O‘Grady. Talking head
is applied in all the ninety dialogues. Juxtaposing of talking heads is supportive to the
main discourse. Non-diegetic sound is absent that makes the filmmaker neutral.
The title of chapter fifteen is ‗Betraying a Family‘ and lasts two minutes and
thirty seconds. The participants include Father Tom Doyle and Jiyonos family. The
chapter starts with Father Tom Doyle‘s comments about Roman Catholic Church. He
explains that people believe the Church is willed by Almighty God. He criticizes the
Church as ‗monarchical, hierarchical governmental system.‘ Ann Jiyono is forty years
old. She tells that she has not married, nor conceived. Her father can not walk down
the aisle in the church for her wedding because of O‘Grady‘s betrayal. The chapter
ends with Bob‘s remarks, ―The Church had betrayed me and my family.‖ It is
highlighted that how clergymen are taken to be superior and command respect. They
are considered to be upright and extremely honest people. Jiyonos family is shattered
due to Roman Catholic Church system. Juxtaposing of talking heads supports the title.
Talking head mode is applied in all the twenty six dialogues without non-diegetic
sound.
The title of chapter sixteen is ‗Power of Attorneys‘ that lasts four minutes and
fifty four seconds. The chapter depicts how the victims face social problems and
financial loss as well for speaking truth and pointing out wrongdoings of the church.
The chapter opens with Tom Doyle who has been a Catholic priest for thirty five
years. The other participants include police officer, Jeff Anderson and Ann Jiyono.
Tom Doyle says, ―I have been fired from two major positions and sidetracked from
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two careers as a priest in the Church because I have openly advocated for the victims
of clergy sexual abuse.‖ Tom Doyle was considered to be very critical and vocal for
the dishonesty and manipulations by the top hierarchy of Church. Police
investigations disclose that the diocese attorney did not report the whole truth during
an investigation of the child molestation allegation on O‘Grady in 1984. Jeff
Anderson‘s talk with O‘Grady reveals that if O‘Grady‘s testimony can bring harm to
dioceses image, his annuity may be revoked. On the other hand, Jiyonos lost their
whole financial stability. Maria Jiyono was forced into retirement owing to her
deteriorating health and Bob had to quit the job to take care of Maria. O‘Grady
brought miseries and financial loss to many families, but diocese was only concerned
with its good image. All the sixty eight dialogues are delivered in talking heads mode.
The title of chapter seventeen is ‗Something to Hide‘ that lasts four minutes
and forty four seconds. The participants include Patrick Wall, Ann Jiyono, John
Manly, and Father Tom Doyle. In 2000, O‘Grady was released from prison and
deported to Ireland. In 2002, the US Conference of Catholic Bishops asked former
Oklahoma Governor Frank Keating to head a national review board to scrutinize the
Catholic Church for the accountability and guidance. Father Tom Doyle tells that
when Mahony was ordered to produce documents and record to find truth, he takes
refuge in ‗formation privilege‘ which means every communication between a bishop
and priest is equal to confession as far as confidentiality is concerned. Tom Doyle
explains that ‗formation privilege‘ has no basis in canon law, civil law, history or
theology. The chapter depicts that Mahony extends every kind of protection to the
bishop but not to children. ‗Formation privilege‘ extends right to the Church not to
disclose or report sexual abuse. John Manly considers ‗formation privilege‘ as an
argument loved by David Koresh. David Koresh (discussed at length in the later part)
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at Waco did not allow authorized police to search his house for his religious reasons.
Juxtaposing of dialogues and text critically brings forth how the ‗formation privilege‘
helps Mahony to hide facts. Talking head is applied on all the thirty two dialogues.
‗Should Not Have Happened‘ is the title of chapter eighteen that lasts four
minutes and forty five seconds. The chapter depicts O‘Grady repenting on his wrong
doings. The participants include O‘Grady, and four victims. In Ireland, O‘Grady was
living with a family who did not know the past of O‘Grady. However, the police and
the seminary knew completely about O‘Grady. O‘Grady decided to write letters of
apology to his victims and see them individually. The victims refused to meet
O‘Grady. O‘Grady‘s expression of regret is the main theme constructed through
talking heads. Juxtaposing of dialogues with text from letters is supportive to the title.
All the forty dialogues are by the victims and O‘Grady.
The title of nineteenth chapter is ‗Finding the Courage‘ that lasts one minute
and twenty two seconds. The participants include O‘Grady and Ann Jiyono. O‘Grady
was hoping to see his victims but according to Ann, her healing process was not
linked with O‘Grady‘s punishment. Ann comments on the idea of meeting to
O‘Grady, ―I think the little girl that is five years old, that‘s scared and afraid of him is
still afraid to go.‖ The chapter depicts Ann reflecting on how O‘Grady has ruined her
whole life. She did not marry to anybody nor conceived. Talking heads is applied in
all the ten dialogues. Non-diegetic sound is not used in the chapter.
‗Digging Deeper‘ is the title of twentieth chapter that lasts one minute and
fifty two seconds. O‘Grady is the main participant who reveals to be sexually abused
by a priest and his elder brother in his childhood. According to O‘Grady his elder
brother had abused his sister as well. He states, ―I think my older brother initiated it
with me.‖ The chapter divulges that O‘Grady was victimized by visiting priests when
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he was ten or eleven years old but he did not consider his conduct of molesting
children as a reaction of his childhood experiences. The chapter is constituted through
twenty one dialogues, all in talking heads mode.
The title of chapter twenty one is ‗National Crisis‘ that lasts five minutes and
fifty five seconds. The chapter depicts that majority of the criminal priests joined the
seminary during their teenage. The participants include Jiyonos family, Patrick Wall,
and Dr. Mary Gail. The chapter reveals 25 years ago, Tom Doyle called the bishops to
devise a comprehensive plan to address the crisis of pedophilia in the priesthood and
put it before the US Catholic Conference of Bishops. However, the Conference
concerns were nuclear war, boy scouts, animal husbandry etc. For Tom Doyle, sexual
abuse of children by priests was a national crisis. He expected a pronouncement by
the US Catholic Conference of Bishops. Instead of finding solution to the problem the
Conference blocked the issue of pedophile. Pope Benedict, the head of the Office of
the Congregation for the Doctrine of the Faith overlooked the issue. The bishops
knew that the children were being victimized but they squelched the report. They just
tried to ensure that law enforcement and the public and the faithful would not find out.
According to Patrick Wall, a theologian, ―The bishops have known that bishops,
priests and deacons have been sexually abusing children since the 4th century,
basically you have a sexually abused childhood.‖ Patrick Wall‘s comments expose
molestation as a legacy of the Catholic Church. In the scriptures of Christianity,
celibacy was not mandatory even all the twelve apostles were married with probably
the exception of John. During the fourth century, to stop the practice of property
inheritance of priest to the oldest son, church leaders made celibacy mandatory and
the priests‘ property was inherited by bishop or church. According to Dr. Mary Gail, a
clergy abuse psychologist, ―If all sex by definition was bad sex then pedophilia is just
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another kind of bad sex.‖ Celibacy means rejection of all kinds of sex. Dr. Mary
Gail‘s remarks highlight that anything imposed against human nature may lead to
tragedies. Text, voice over and juxtaposing of talking heads is supportive to the main
discourses. The chapter is constituted through fifty dialogues. Non-diegetic sound is
used for thirteen seconds.
The title of chapter twenty two is ‗Stats are Out‘ that lasts four minutes and
forty seven seconds. The chapter‘s theme is to depict the prevalence of child
molestation issue at a large scale and is deep rooted. The participants include Patrick
Wall, Bill Hodgeman, Dr. Mary Gail, and Jeff Anderson. The chapter starts with
Patrick Wall quoting Los Angles Times report that 10% graduates from St. Johns
Seminary are pedophiles. Bill Hodgeman, Deputy District Attorney of Los Angeles
tells about the archbishop of Boston Cardinal Law who presided over some of the
worst sexual abusers in the history of the Church. He was appointed as cardinal
archbishop in Rome. He also presided at the funeral procession of Pope John Paul II.
Bill Hodgeman is depicted in the scene saying that in June 2002, they had over
hundred criminal investigations that encompassed over hundred individual priests.
Jeff Anderson, attorney for the Howard‘s believes that tens of thousands of priest
offenders are still roaming worldwide as victims are being reported everyday. The
chapter is constituted through thirty eight dialogues. Juxtaposing of the talking heads,
text and voice over is supportive to the main discourse.
The title of the chapter twenty three is ‗Making it Known‘ that lasts six
minutes and seven seconds. The participants include Father Thomas, Patrick Wall,
Maria and Bob Jiyono. Patrick Wall comes to know that Father Thomas is going to
meet Jiyonos. Father Thomas plans to address the Pope on behalf of the priests‘
victims. He says, ―Bishops, archbishops, and cardinals have consistently lied to us and
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to the public and to law enforcement agencies about the cover-up of sexual abuse by
the clergy.‖ Since the people are unaware of this phenomenon, Father Thomas wants
to make it known through Ann Jiyono as a representative of the victims.
Juxtapositions of the scenes and footage are supportive to the main discourses. The
chapter is constituted through twenty eight dialogues. The modes applied are talking
heads and direct cinema. Direct cinema depicts telephonic conversation of Patrick
Wall and interaction of Father Thomas with Jiyonos that gives a very natural look.
Title of the chapter twenty four is ‗Denied by the Vatican‘ that lasts eight
minutes and forty seven seconds. The participants include O‘Grady, Adam, Bob, Ann,
and Paula Zahn. The chapter starts with a TV news bulletin telecasting, ―A lot has
changed in the Catholic Church this year, but it is still having trouble responding to
the victims of sexual abuse by priests. Today, two American women came to the
Vatican hoping to deliver a letter to the new Pope. The guards would not let them in.‖
Talking heads is used to formulate the chapter. The chapter is constituted through
thirty one dialogues other than the text on screen. Eleven sentences appear on the
screen that is counted in the text category. Facts and figures about Catholic Church
are shared through text.
Ann Jiyono is interviewed by Paula Zahn who has come to see Pope after
thousands of miles journey. She is taken to be an enemy of the Church and denied to
meet. Jiyonos letter to the Vatican was not replied. The circumstances led Bob to
think that there was no God. According to Adam all the religions share some common
theme or philosophy at some level. He comments on molestation, ―That was not the
message of Jesus or Buddha or Mohammad or anybody.‖ He maintains that Catholic
Church is in the wrong direction. According to O‘Grady, the clergy people need to
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acknowledge and reflect on the bad aspects of the church to cure it. Catholic Church
declined to interview.
Facts and figures appear on the screen that substantiate filmmakers‘ argument
and serve as inter-textuality. The documentary reveals that since 1950, sexual abuse
has cost the Church over one billion dollars in legal settlements and expenses. Over
100,000 victims of clergy sexual abuse have come forward in the United States alone.
Experts say more than 80% of sexual abuse victims never report their abuse. Last
chapter is ‗End Credits‘ showing the names of all the contributors.
In an interview, Amy Berg36 told about her religious inclination as a Jew. This
film is depicting Christians and she relied on talking heads mode for the depiction of
illegal and unethical practices of Catholic Church. Though the three modes are used
but voice of authority and direct cinema are very insignificant as the graph shows.
Figure 6.11 Interference level of the filmmakers in the film ‗Deliver us from Evil‘
36
http://www.slashfilm.com/article.php/20061017interviewamyberg
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minutes only. However, sequencing of scenes, juxtaposing, and video clippings helps
filmmaker to amplify and extend the frames. Film was nominated for Oscar. It has
won Boston Society of Film Critics Award, Best Documentary Award in Los Angeles
Film Festival, New York Film Critics Circle Award, Satellite Award, and
Documentary Screenplay Award from Writers Guild of America. The film was
nominated for Gotham Awards, Directors Guild of America Award, and Chicago
Film Critics Association Award.

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6.2.1.5 Qualitative Analysis of „Darwin‟s Nightmare‟
The Academy Award-nominated documentary Darwin‘s Nightmare is written
and directed by Hubert Sauper. The film is produced by Edouard Mauriat, Antonoin
Svoboda, Martin Gschlacht, Hubert Toint and Hubert Sauper in 2004. The film
depicts horrific poverty and dilapidated conditions of Tanzanian people who deal in
fishing. The fish species known as Nile Perch was introduced into Lake Victoria in
1960s. The fish caused ecological problems as it consumed almost every other species
in the lake. The elimination of small fish from lake that let the lake clean by eating
algae caused destruction of the ecosystem. The huge size of the perch attracted
businessmen to export it to Europe while starving Tanzanians have to survive on the
leftovers. This situation created political, economic, social, and health problems.
AIDS started spreading due to prostitution. The film shows a pastor advising local
fisherman not to use condoms in spite of the rampant AIDS. As he believes that
contraceptives are against God's law. Poverty and unemployment has driven women
to prostitution and men to drug addiction. The film suggests that the planes that take
away fish to Europe bring weapons to Tanzania from Europe. The DVD version
comprises of twenty two chapters. The film has won nine different awards including
Cesar, Angers European, Entrevues, Sydney, Mexico City, Thessaloniki, Venice and
European Film Awards.
The first chapter of the film is titled as ‗Airstop: Lake Victoria, Western
Tanzania.‘ The chapter serves as an introduction to Lake Victoria that is the biggest
tropical lake on earth. The lake is said to be the birthplace of humankind and source
of the river Nile. There is nothing regarding religion in the first chapter. The first
chapter is constituted by direct cinema and talking heads mode. Five dialogues are in
direct cinema and six are in talking heads. The chapter duration is six minutes and
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twelve seconds while non-diegetic sound is used for one minute and fifty five
seconds.
‗Marcus: Airport Police Officer‘ is the title of second chapter. Marcus and
Sauper are the participants of this chapter that lasts forty four seconds. Questions are
asked to Marcus about planes carriage from Europe. His stance is that planes come
empty. The chapter consists of seven dialogues, all in talking heads without any non-
diegetic sound. Religion, in any from is not depicted in this chapter.
Chapter three is titled as ‗Dima: Fish-Cargo Pilot‘ and lasts one minute and
twelve seconds. The participants are Tanzanian girls and Dima. Dima, a fish cargo
pilot, is depicted enjoying with Tanzanian girls. The girls are singing national song.
The chapter is very short but successfully depicts Tanzanian girls‘ friendship with
cargo pilots of other countries. Direct Cinema is applied for a total of six dialogues.
Nothing about religion is depicted and the chapter lasts one minute and eleven
seconds.
‗Eliza: Girlfriend of Many Pilots‘ is the title of chapter four that lasts four
minutes and thirteen seconds. The chapter depicts Eliza singing songs in local
language. Direct Cinema mode is used to depict Eliza and pilots. There are no
dialogues and nothing about religion. The chapter lasts four minutes and twelve
seconds.
‗Dimond: Factory Owner‘ is the title of chapter five that lasts one minute and
forty eight seconds. Dimond and his assistant are the participants of this chapter.
Dimond tells about his fish business. Almost one thousand people work in his factory
to make small fillet fish. His assistant tells how Nile Perch has wiped out all other
species and the fish is economically very good. According to Dimond, the jobs of all
people living along shore side depend on Nile Perch fish. The chapter depicts that
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people involved in the Nile Perch business are not bothered about ecological
problems. All the thirteen dialogues are in talking heads and nothing is about religion.
The title of chapter six is ‗Waiting for 55 Tons of Fish.‘ The main participants
include Sergey, Dima, Jura, Vladimir, Stanislav and captain. All are talking about
their families. They have to leave their families to earn their livelihood. In a total
twenty three dialogues, eight are in talking heads and fifteen are in direct cinema
mode. The chapter lasts three minutes and thirty eight seconds.
Chapter seven is titled as ‗10 Dollars a Night.‘ The main participants are Eliza
and Cravij. The chapter focuses on how the fish business has flourished prostitution.
Eliza is girlfriend of many pilots and earns ten dollars a night to sleep with pilots.
Ecological problems of Lake Victoria are affecting human beings in terms of
economy, health, culture and social system. In a total of six dialogues, three are in
direct cinema and three are in Voice of authority mode. The chapter lasts one minute
and fifty seven seconds.
‗Raphael: Protects the National Fisheries Institute‘ is the title of chapter eight.
Raphael and Sauper are the main participants. Raphael guards National Fisheries
Institute for one dollar per night. He is not satisfied with his job due to insecurity and
less salary. The former guard was killed by a wild animal during his duty. Raphael
discusses the problems of people related with fishing profession. There is nothing
about religion. Talking heads mode is used for a total of fifty eight dialogues. The
chapter lasts five minutes and nineteen seconds.
‗The Streets of Fish City‘ is the title of chapter nine that lasts two minutes and
nineteen seconds. The main participants include Sauper, Msafiri, Franky, Shabani,
Mustafa, Josephu and street children. The conversation with children reveals that they
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have lost their parents due to AIDS. The chapter depicts deplorable health conditions
of the natives. Talking heads mode is used for all the twenty nine dialogues.
‗Jonathan: The Only Painter in Town‘ is the title of chapter ten. Jonathan and
Sauper are the main participants. Jonathan paints the wretched and pathetic conditions
of people living near Victoria Lake. Jonathan came to Mawazna after the death of his
parents in 1995. He tells that people are suffering from AIDS, HIV, drug addiction
and poverty. Most of the children are orphans. There is nothing about religion. Out of
forty three dialogues, forty one are in talking heads and two are in voice of authority
mode. The chapter lasts five minutes and eight seconds.
‗Village of Kilimilile: 390 Inhabitants‘ is the title of chapter eleven that lasts
five minutes and fifty four seconds. The main participants include Cleopa Kaijage,
Pastor, Sauper and women. The chapter starts with the funeral of a fisherman. The
total population of Kilimilile village is 390 and ten to fifteen fishermen die every
month due to AIDS. Sauper asks pastor how to control this situation. He replies that
he teaches Gospel and asks people to leave the business of prostitutions. He says, ―As
a pastor, we don‘t advise them to use condom… Condoms are dangerous also,
because it is a sin according to God‘s Law.‖ Christianity does not allow having extra
marital relations or homosexuality. Religion is interacting with the severe health
conditions. The death rate with the same pace means non-existence of local people
within four years. Majority of the population in Kilimilile are Christians. The chapter
highlights that priest can play a significant role in this regard. All the thirty dialogues
are in talking heads mode.
‗Part of the Big System‘ is the title of chapter twelve that lasts nine minutes
and thirty seconds. The main participants are Dimond and Sauper. Dimond tells that
planes can take up to five hundred tons of fish and almost two million white people
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eat Victoria-fish everyday. The previous chapters show local people starving. They
survive on leftovers. The planes come from Europe and Russia. Sauper asks Dimond
that what the planes bring when they come. He tells that one day their media reported
about a plane that brought so many weapons. Pilot of that plane said that the weapons
will be taken to Angola. People do not know what the planes bring. Sometimes
UNHCR planes bring clothes, food for refugees. The chapter depicts that how
governments are involved in the transportation of weapons. Common people are
unaware about it. Even there is no radar system to control and watch air traffic. There
is nothing about religion in the whole chapter. Talking heads is used for seventy seven
dialogues while only two are in direct cinema mode.
‗The Big Old Ilyushin‘ is the title of chapter thirteen that lasts two minutes and
forty seconds. The main participants include Sauper and pilots. Radio reports about
several deaths due to famine in the district of Tabora. Local people desperately need
food and the planes are waiting to carry fish to Europe and Russia. Ilyushin is the
name of a plane waiting to carry fish. It can carry five hundred tons of fish at a time.
On the other hand, United Nations World Food Program has requested seventeen
million dollars to feed the two million starving people in the central region of
Tanzania. The planes bring weapons and carry fish. It shows how developed world is
destroying the poor. The first five dialogues are in voice of authority while other
fourteen are in talking heads mode.
‗Ito: One of Thousand Island‘ is the title of chapter fourteen that lasts six
minutes and ten seconds. The main participants are Raphael, Mkono and Sauper.
Raphael brother died during fishing. There is no hospital, dispensary, or doctor in Ito.
The chapter depicts how people are trapped in the vicious circle of poverty.
Developed world is plundering their resources and monopolizing the entire world.
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Institutions like World Bank and IMF belong to them. Africans are poor and weak so
they have become a colony of Europe. There is nothing about religion. In a total of
forty five dialogues, three are in voice of authority mode and rest in talking heads
mode.
‗IUCN International Ecological Congress, Kenya‘ is the title of chapter
fifteen. The chapter is constituted by the recordings of conference and lasts three
minutes and twenty three seconds. The video footage of a conference participant
shows the constantly decreasing levels of oxygen in Lake Victoria that is devastating
the lake‘s ecological chain. Species that feed on algae and waste are wiped out and the
Perch is eliminating all hopes for the future. The paper focuses on how the world‘s
second largest lake is turning into a barren sinkhole. However, the Minister criticizes
the participant for showing only the negative aspects of the lake. There are thirty two
dialogues, all in direct cinema mode.
Title of chapter sixteen is ‗Maiseli: Fish Quality Controller.‘ The main
participants are Maiseli, Sauper, Italian ambassador and workers of fishing industry.
The chapter lasts ten minutes and five seconds. Fisheries industry, founded on Lake
Victoria, is Tanzania‘s biggest export to the European Union. People from other parts
of the country have come to join the fishing industry. They are making money but
working in severe condition. They can not eat that fish because it is quite expensive.
The fish is sold in European markets. Sauper shares the news of famine in Tanzania
that appeared in the local newspaper. Africans can eat only what the planes would not
carry. When Sauper approaches the workers of fishing industry, their boss stops them
to say anything. According to Italian ambassador, European Union has developed
infrastructure at Mawazna which is a great contribution. Out of seventy seven

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dialogues, two are in voice of authority mode and seventy five are in talking heads
mode.
‗Faces of Famine‘ is the title of chapter seventeen that lasts thirteen minutes
and forty one seconds. The main participants include Sauper, Dimond, Jonathan,
Stanislav, and Captain. Dimond tells that East African newspaper is reporting famine
coming up in Tanzania. That is why United Nations World Food Program has already
made an appeal to the international community for seventeen million US dollars to
help Tanzanians. However, the Tanzanian government claims no food shortage.
According to UNWFP‘s report, more than half of Tanzanians live on less than one US
dollar per day. Multi national corporations in Tanzania are investing in different
industries and making money. Fish industry is one of them. Fish packing material is
also used for drug addiction and the process is very injurious to health. Street children
are also involved in drug addiction and also a victim of sodomy. Most of the people
are Christians and they believe in superstitions. They believe that ‗good Christ shall
be defeating all evil.‘ Abundant fishing is considered as one of the miracles of Jesus
Christ. In a total of seventy four dialogues, twenty one are in direct cinema and fifty
three are in talking heads mode.
‗Eliza Died‘ is the title of chapter eighteen that lasts two minutes and twenty
seconds. Eliza, Dima, on-screen text and video footage constitute this chapter. Eliza is
killed by an Australian client who stabbed in the chest. Television footage shares,
―The United Nations is again using aircraft to search for tens of thousands of
refugees.‖ The juxtaposing of Eliza‘s death news and searching of refugees relates the
two without any evidence. Two statements appear in the form of text on screen while
the refugees‘ news item is of two sentences, depicted through television footage and
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used in direct cinema mode. The chapter consists of sixteen dialogues in total; twelve
are in talking heads mode.
‗Talk of War‘ is the title of chapter nineteen that lasts four minutes and forty
one seconds. The main participants are Raphael, Sauper, pilot and an ex-soldier. The
chapter depicts that Tanzanians want to join army or wish to be pilots because these
jobs guarantee handsome salary. If Tanzania goes for a war, it would be a good thing
for many people. They will get jobs so they wish to have a war. They are very clear
that war is a business of killing maximum people. The chapter depicts that how
poverty compels people to hope for war. So, poverty is the biggest enemy of mankind.
There is nothing regarding religion. All the ninety four dialogues are in talking heads
mode.
‗Congo/Zaire, Angola‘ is the title of chapter twenty. The main participants
include Stanislav, Sauper and Captain. Congo and Angola had the bloodiest conflicts
in history since World War II. The chapter depicts that four million died during five
years. Africa is perceived as a troubled continent. The chapter depicts that how
Africans are involved in war in different parts of the world. There is an evidence of
their involvement in Afghanistan war. Nothing regarding religion is depicted in the
chapter. All the fifty four dialogues are in talking heads mode.
‗The Business‘ is the title of chapter twenty one. The main participants are
Raphael, captain and Sauper. The text of an article of Richard Mgamba, an
investigative journalist, is included in this chapter. ‗The Business‘ focuses that Africa
brings life to Europe in the form of fish, grapes, food and in return getting death in the
form of armed weapons and drugs. Raphael tells that top Tanzanian security officers
are involved in arms smuggling. Russian-made aircrafts smuggle arms through
Mawzna airport. Western and European countries provide arms to the war-torn
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countries like Sudan, Congo, and Liberia. According to government sources, security
at Mwazna airport is very poor. Arms can be easily smuggled into the African
countries. If the Africans perish due to hunger, drugs, and war, Western and European
countries through United Nations High Commission for Refugees (UNHCR) will
bring their people to work. The chapter puts forth a question that why UNHCR
focuses to resolve the problem and not to prevent it. It can help to stop the flow of
armed weapons in Africa. These dialogues are juxtaposed to Aazan (Muslims‘ call for
prayers). The scene is an explanation of how discourses of terrorism are being
associated with Islam while it is not Islam or Muslims that promote terrorism. The
captain shares that on Christmas, children of Angola receive guns for Christmas Day
while European children receive grapes. In a total of forty two dialogues, forty one are
in talking heads and one is in voice of authority mode. The chapter lasts eight minutes
and forty one seconds.
‗End Credits‘ is the title of the last chapter that lasts one minute and thirty six
seconds. Before the credits, a statement appears on the screen, ―Dedicated to the
children, men and women in this film.‖ The dedication depicts filmmakers‘ focus for
the Africans. Though the film does not directly deal with religions, however
Christianity and Islam are part of the film in subtle ways.
Hubert Sauper has applied the three modes but dominantly used talking heads
and direct cinema modes. Hubert Sauper himself interviews a priest in the film asking
for his opinion to control AIDS. Juxtaposing of blast scenes and Azan in background
is building negative associations with Muslims and Islam. The main discourse
suggests imbalances in ecological system. Christianity is depicted as an impediment
to resolve the problems and lessen the miseries. The following graph shows the
application of modes in terms of dialogues and time by the filmmaker.

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Figure 6.12 Interference level of the filmmakers in the film ‗Darwin‘s
Nightmare‘
minutes. The film was nominated for an Oscr. It has won European Jury Award,
Cesar Award, Audience Award in three festivals; Entrevues Film Festival; Mexico
City International Contemporary Film Festival; and Thessaloniki Documentary Film
Festival, FIPRESCI Prize in Sydney Film Festival, Best Documentary Award in
European Film Awards, Label European Cinemas in Venice Film Festival, and
Vienna Film Award in Viennale.

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6.2.1.6 Qualitative Analysis of the „Twist of Faith‟
The Academy Award-winning documentary ‗Twist of Faith‘ is produced by
Eddie Schmidt and directed by Kirby Dick for Home Box Office (HBO). The
documentary gives an account of a Toledo firefighter, Tony Comes who is
confronting with the trauma of his childhood sexual abuse by a priest. On the one
hand, Tony is afraid of any disruption in his happy married life with two kids, on the
other hand he wants to initiate a struggle for truth and justice. The documentary
highlights different aspects of a sexually abused victim‘s life including social,
psychological and religious one. Some footage of the film is shot by the subjects to
incorporate points from their perspective and project the issue according to their heart.
The participants of first chapter include Tony Comes, the victim; Wendy
Comes, wife of Tony Comes; Mitchell, son of Tony Comes; Dennis Grey, the priest;
and school children. Dennis Gray is a by choice priest, who joined a seminary, St.
Gregory Cincinnati after graduation. Tony Comes is a Firefighter in Toledo who
shares something about his job that shows his devotion and commitment to his
profession. Tony Comes gives a fire safety presentation to school kids that depict his
concerns about kids‘ security. Tony‘s family is introduced in the first chapter.
Mitchell and Samantha, son and daughter of Tony are four and nine years old
respectively. Dennis Gray refers to Tony Comes as a good friend. The chapter gives
an introduction to the subjects. Dennis Gray is interviewed while Tony Comes gets a
chance to provide footage himself that shows the effort of filmmaker to be neutral.
Twenty four dialogues are depicted through talking heads and thirty four through
direct cinema mode. The chapter is constituted by fifty eight dialogues, all by catholic
Christians. Non-diegetic sound is used for forty three seconds only.

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The second chapter is constituted by Dennis Grey, Tony Comes and Mitchell
who reveal Dennis Gray‘s tactics to trap Tony Comes. The chapter shows how
teenagers‘ fascinations are sometimes exploited by the priests‘ bad intentions. Dennis
used to take out children for McDonald, for race track, extended help in times of
trouble like late arrival at school. Everything was allowed to children at Dennis
cottage including smoking, drinking etc. His constant comment on Tony Comes was,
‗Comes you are the only person I know that would fuck up a wet dream‘. Dennis
Gray is being asked about any lessons or guidelines provided by the Church regarding
inappropriate conduct with minor, reporting child abuse, or any sexual conduct. The
denial of Dennis depicts the apathetic attitude of Catholic Church regarding such
issues. On the one hand there were attractions in drinking, smoking, eating and
hanging out for Tony Comes as a child; on the other hand he was in a constant rebuff
for being abused. As Tony Comes says, ―Its like there is a siren going off in your
head, this is not happening, this is not happening, this is not happening. Yet the
reality, that is happening and you are trying to figure out why and what the hell do I
do?‖ Tony Comes is depicted as a very concerned father. The chapter depicts how
Catholic Church is indifferent about the misconduct of its clergymen. Talking heads is
applied on fifty five dialogues while eighteen dialogues are in direct cinema mode.
There are total seventy three dialogues. Dennis Grey is depicted through cross
questioning. The chapter lasts five minutes and thirty eight seconds.
Tony Comes, Wendy Comes, Mitchell and Dennis Grey are the participants of
chapter three that brings forth how an old issue becomes active and disrupts the life of
Comes family. The chapter lasts six minutes and twenty seconds. Tony after his
marriage, shares with his wife Wendy about Dennis Gray. Years after, Comes family
moves to a new house. There Tony comes to know that Dennis Gray is living in his
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neighborhood, just five houses down. Tony shares his tragedy with his daughter and
shows her the house of Dennis Grey so that she can protect herself. Questioning to
Dennis Grey reveals that he used to invite children at Crystal Lake for abusing. There
he used to have scotch or beer. In a total of fifty eight dialogues, thirty four are in
direct cinema mode used to depict Tony Comes family. Twenty four dialogues are in
talking heads mode that portrays Dennis Grey‘s character. Juxtaposing of talking
heads, frames and temporality helps to highlight Dennis Grey‘s heinous character.
The chapter is supportive to the title of the film and the overall discourses. Non-
diegetic sound is used for twenty five seconds.
Tony Comes, Tony‘s mother Sandy Comes and Tony‘s wife Wendy Comes
are the participants of fourth chapter that lasts six minutes and eight seconds. The
chapter starts with Tony at Crystal Lake, sharing his bitter memories of childhood
associated with that place. He shares that on Saturday nights, Dennis used to abuse
him sexually and on Sunday mornings Dennis offered sermons at that very place. The
gloomy music during Tony‘s reflections facilitates to depict his grief and heartfelt
pains. Tony‘s family life is also affected as Wendy says, ―This was not just eating
away at Tonys mind, it was eating away my mind.‖ Tony, at a later stage shared with
his mother about Dennis Grey and wanted to bring it in the knowledge of his father
which reflects Tony‘s disturbed personality. The chapter is constructed through
talking heads and consists of fifty one dialogues. Juxtaposing of talking heads
facilitate Tony‘s responses to wins sympathies of the viewer. Reaction of Tony‘s
mother and wife is depicted. The abuse resulted in bringing psychological trauma and
tense relationship in Tony‘s happy married life. Non-diegetic sound is absent.
Chapter five depicts news reports on television about the issue. Participants
include Wendy, Dennis, Matthew Simon, John Doe and Dennis O‘Loughlin and
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chapter lasts six minutes and twenty two seconds. The chapter focuses on child abuse
by priests that existed long before but it remained unreported and consequently
unnoticed. According to NBC report, Catholic Church is facing allegations regarding
the priests who have been sexually abusing parishioners in Boston, St. Louis and
Toledo. The report describes Bishop of Toledo as requesting unreported pedophile
victims to report or contact Diocesan Case Manager. Wendy‘s dialogues suggest how
the victims are afraid of reporting because the whole thing can rip through the family.
When Tony reported to Bishop about the pedophile, the Bishop assured Tony that
there were no other sex abuse allegations against Dennis Grey. However, the NBC
report reveals that Dennis Grey victimized his six students during 1980s. The report is
integrated in voice of authority mode. Then Matthew Simon, John Doe and Dennis
O‘Loughlin share their experiences that how they were trapped and then abused by
Dennis Grey. Three other victims are depicted through talking heads. In a total of
seventy seven dialogues, sixty four are in talking heads while eleven dialogues are
delivered in direct cinema mode. Two statements appear on the screen by the
filmmaker to describe Tony‘s meeting with Bishop Hoffman in 2002. The statements
are counted in voice of authority mode. Non-diegetic sound is absent in the chapter.
The participants of sixth chapter are Jeff Anderson, Tony, David Yonke and
Mike Selah and lasts three minutes and forty four seconds. Jeff Anderson is the
Minneapolis attorney and David Yonke is the editor of a magazine ‗Religion‘. The
main discourse is to highlight authoritative structure of Catholic Church. It consists of
powerful law firms that cover nineteen countries to settle cases quietly and silence the
victims. However, Jeff Anderson who represents survivors of abuse across the
country and dealing such cases for the last twenty years appears sad about the attitude
of the Catholic Church. He is of the view that the bishop here and the officials of this
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diocese have operated above the law. But Tony is resolved to bring the whole matter
in front of public for the prevention, healing and outreach. Tony‘s comment, ―So this
is not about the money, it‘s about everything else first‖ depicts Tonys resolution.
Direct cinema is used for twenty eight dialogues while twelve are in talking heads
mode. The on screen text shares that until 2002, Tony remained anonymous by using
fake name but after September 2002 he replaced it with his real name. The on-screen
text and juxtaposing of talking heads help each other to portray the abuse of Catholic
Church. Non-diegetic sound is used for twenty seconds to reinforce the tragedy.
Chapter seven lasts six minutes and ten seconds. The participants are Tony,
Wendy, Samantha, Sandy, Mike Selah, and David Yonke. The main discourse is the
1000 years old history and prestige of Catholic Church at one hand and the prevailing
environment of pedophile and cheating within the Catholic Church at the other hand.
Both realities are put together. The chapter brings forth how the corruption and
cheating of the higher authorities of the Church is compelling victims to be vocal in
public. Though Dennis Grey apologizes to Tony, his wife, and mother but there are
other unnoticed victims. However, Bishop Hoffman denied any other victims in his
knowledge. Sandy asks the Bishop, ―Are you aware of any other allegations against
Denis Gray regarding young people?‖ Later on NBC report and Catholic chronicle
testifies that Bishop Hoffman knew about other victims at that time. The situation led
Tony to sue the diocese and be vocal publicly about the whole issue. Tony also
abandoned wearing cross and was worried about his daughter Samantha who was a
parishioner. Tony‘s discussions with Mike and Dave about his decision of going in
public and abandoning the church focus the issue with different perspectives. Mike
views Tony‘s pronouncements in public as making other people pay for his bitterness.
He thinks the priests‘ wrongdoing as a ten year cover-up should not collapse an
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organization with a 1000 years old history. Tony seems not to trust the church again.
Direct cinema mode is used to cover the issue from different perspectives. News
reports on NBC serve as an argument to facilitate Tony‘s viewpoint. Bishop
Hoffman‘s statement published in the Catholic Chronicle is shown as text. In the
statement, Bishop Hoffman acknowledges that he became aware of abuse in 1995.
Twenty two dialogues are depicted through talking heads while sixty eight are in
direct cinema mode. Non-diegetic sound is used for twenty three seconds.
Chapter eight is constituted by Rev. Ray Shepherd‘s speech at the church,
Tony, Wendy, and Father John Charles Shiffler. The chapter lasts six minutes and
highlights how everyone in the Catholic Church was the part of lies, deceits and
betrayals that resulted in creating bitterness among victims. The chapter starts with
the text declaring the death of James Hoffman, the Bishop of Toledo in 2003
followed by speech of Ray Shepherd on the funeral of Hoffman in the direct cinema
mode. The speech proposes the concept that nobody deliberately hurts anyone
however the greater the power a person has the more necessary it is to acknowledge
fallibility. Tony is full of hatred feeling for Bishop Hoffman as he says, ―Where the
Bishops laying to rest, a piss on his grave is almost completely overwhelming.‖
Wendy says, ―Unfortunately, over this past year, we found out that he is also one
that has abused children.‖ Wendy converted to Catholic after getting engaged with
Tony and Father John Shiffler counseled, baptized and married them. Their daughter
is also baptized by Father John Shiffler. That was why they felt a very strong link
with the church. Father John Shiffler confessed to commit child sexual abuse in a
deposition. At the end of the deposition scene, the text on the screen describes that
John Shiffler is currently petitioning the Vatican for reinstatement as a priest. Tony,
Wendy and Father John Charles Shiffler are depicted through talking heads. Burial
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of Hoffman and wedding of Tony are depicted through direct cinema mode that
consists of eleven dialogues. In a total of forty three dialogues, thirty one are in
talking heads mode. Bishop Hoffman‘s death and John Shiffler petitioning for
reinstatement as a priest are described through on screen text. Non-diegetic sound is
used for thirty two seconds. Filmmaker has preferred text on voice over. Juxtaposing
of talking heads, temporality, music and text facilitate to depict wrongdoings of
Catholic Church.
Chapter nine is constructed through Jon Schoonmaker (abuse survivor),
Bishop Robert Donnelly, Claudia Vercellotti (abuse survivor), Father Stanberry
(Toledo priest), and Dennis O‘Loughlin. The chapter lasts five minutes and eight
seconds and focuses on how the church hierarchy is replaced by similar priesthood.
Robert Donnelly, the Auxiliary Bishop of Toledo, was appointed as administrator
for the diocese in 2003. Bishop Donnelly denied any knowledge of Gray‘s alleged
abuses. However, a victim told Bishop Donnelly in 1986 that Gray had abused him.
This information is presented in the form of text with music that serves as an
argument. The goodness of church is depicted by indicting the charitable works
narrated by the speaker in the diocese setting and Robert Donnelly is welcomed
there. The speaker introduces Catholic Charities Organization as working in the
name of social justice for the common good and well being of all and especially the
poor and the vulnerable. There, Jon Schoonmaker asks Donnelley, ―Where is the
social justice for the victims of sexual abuse by priests?‖ Claudia Vercellotti
complains Donnelley about the inequities in administering social justice. Donnelley
responds that they are making efforts but do not claim to be perfect. These scenes
are depicted through direct cinema mode however juxtapositions affect the
objectivity. Father Stanberry maintains that priests are not accountable to people, nor
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be evaluated by parishioners. Father Stanberry labels Dennis Grey as serial molester
and those who protect such criminals should resign. Talking heads mode is used for
Father Stanberry, Dennis O‘Loughlin and Robert Donnelley. Out of fifty seven
dialogues, thirty six are in talking heads while twenty one dialogues are through
direct cinema mode. Non-diegetic sound is used for thirty four seconds. The chapter
starts with text on the screen to describe that Dennis Grey‘s evil deeds were in
Donnelley‘s knowledge. The text serves as testimony to Donnelley‘s cover to
Dennis Grey.
Chapter ten is constituted by Wendy, Tony, Barbara Blaine, David Clohessy
and five other victims. Barbara Blaine is the president of Survivors Network of those
Abused by the Priests (SNAP). David Clohessy is the national executive director of
SNAP. The main discourse is to transform the antagonist feelings for church into
reconstructive and reformative actions. The chapter starts with the discussions in
talking heads mode, between Tony and Wendy that depict Tony‘s antagonism for
church and Wendy‘s efforts to convert that into something constructive. The
discussions are followed by a text on screen with music in direct cinema mode that
tells about SNAP first conference in St. Louis in June 2003. Tony after getting
registration in SNAP attends the conference. David Clohessy asks the victims to break
the ice and share their feelings so that they can get support of all. Six victims from
different diocese including Tony share their experiences that are applauded by all for
being courageous. The chapter lasts six minutes and five seconds. There are sixty one
dialogues in total; thirty one in direct cinema and thirty in talking heads mode.
Juxtaposing of talking heads and text assists to highlight the tragedy and reaction of
the victims.
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Chapter eleven lasts eight minutes and twenty one seconds. The participants are
Matthew Simon, Tony, and Dennis O‘Loughlin. The main discourses highlight the
repercussions of child abuse in the lives of victims and the role of church in this
regard. The chapter starts with on-screen text to share that Tony is contacting other
victims of Dennis Grey who have filed lawsuits against Dennis Grey. Matthew Simon
and Dennis O‘Loughlin are among them. Tony shares with them why he was afraid of
sharing his bitter experience with other people. He thought that people would not be
able to understand his feelings. Matthew learnt from his bitter experience that perhaps
the only way to get close to people is to have sex with them. Tony shares the agony
caused by the natural, physical and biological reaction. Dennis O‘Loughlin shares
how he was not comfortable with his first girl friend and he always had a disturbed
sleep and nightmares because of the bitter experience. He wants the church to confess
the guilt of covering all such incidents. Tony wants church to take such measures that
can prevent such incidents in future. Tony comments satirically by putting two things
in contrast; confession and reward. A lady in the confessional room confesses before
Father that she performed oral sex on somebody other than her husband and Father
rewarding with ice-cream and movie to children for doing oral sex. Talking heads is
used for fifteen dialogues. Out of one hundred and nineteen dialogues, hundred and
four dialogues are in direct cinema mode. The chapter depicts the repercussions of
bitter experiences of the victims. Non-diegetic sound is used for one minute and
fourteen seconds.
Chapter twelve lasts seven minutes and thirty nine seconds. The participants
are Tony‘s Attorney Catherine Hoolahan, Tony and Wendy. The main discourses
highlight the factors that hinder the way of church reformation and cover up
wrongdoings of Catholic Church. The chapter depicts that when religious affiliations
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become the part of ones personality, any disruptions in this regard can deeply disturb
a person. Such factors are causing people to forsake church. Tony‘s attorney
Catherine tells that diocese has filed the motion to dismiss the case as time-barred
matter. She shares about the book of rules for Catholic Church termed as canon law
that authorizes priests to tell lies or not to respond any queries or investigations for
protecting church from scandals. Tony views the whole situation as church is not
committed to help the victims. He is quite apprehensive about his daughter‘s
attendance at church. Tony is thinking to abandon Catholic Church and join a non-
denominational church. For Wendy it is quite easy as she became Catholic when she
was getting engaged with Tony but for Tony it is just like second nature as he has
lived and grew up with Catholic Church. Talking heads is used throughout the chapter
for all the forty two dialogues. Juxtaposing of talking heads, video footage and frames
facilitate to reflect this aspect.
Chapter thirteen is constituted by Tony, Samantha, and Wendy and lasts six
minutes and ten seconds. The main discourses depict Tony‘s thoughts and reflections
regarding the role of religion. He views that religion can bring people out of
frustrations, disappointments and dashing hopes especially for those who grew up
with religion. He thinks that people turn to religion and God as a last resort. Tony‘s
frustrations are stemmed from his experience of an obnoxious church. The chapter
starts with the discussions between Tony and Samantha about the Jesus Day
preparations at her school. Tony looks at the Samantha‘s First Communion Workbook
that is very much similar to Tony‘s. Direct cinema mode depicts Samantha in the
Church for communion along with her parents. Tony is worried and confused about
his daughter‘s communion. However, Tony‘s presence in the church proves that he is
still hopeful about the goodness of church. Communion scene carries prayer song and
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music that is collateral to the environment of church. Out of forty two dialogues,
twenty are in direct cinema and twenty two in talking heads mode. Non-diegetic
sound is used for forty eight seconds.
Chapter fourteen lasts six minutes and thirty eight seconds. The participants
are Sandy, Wendy and Tony. The main discourses focus Tony‘s life after the issue
became public through media coverage. Wendy is not living with Tony due to this
psychological trauma. The chapter starts with music. Tony talks to her mother Sandy
with the memories of his bitter experience. Tony‘s demand is justice after the
disclosure of whole issue. Sandy views church like any large company where people
do not know everything about their other colleagues. Tony thinks that priests are like
the pillars of a society but they are tearing up individuals and families. Sandy gives
charity to the church and she is very assertive about her relationship with the church.
Tony asks her mother not to give money to the church as the money helps church to
hire attorneys and get more protection. Wendy shares that Tony was a very social
person and always loved social interactions. According to Wendy, ―Tony is not
comfortable now even with his own body and is very tense.‖ Tony tells that he has
lost twenty seven pounds and his sleep is reduced and disturbed. Sandy and Tony‘s
discussion is in talking heads mode. Four dialogues between Wendy and Tony are in
direct cinema mode. In a total of eighty four dialogues, eighty are in talking heads.
Juxtaposing of talking heads helps to portray Tony‘s critical situation.
Chapter fifteen lasts three minutes and thirty two seconds. Dennis Grey is the
only participant. Chapter starts with song and music and the text appears on the screen
describing Tony and Wendy thinking to file a divorce lawsuit. Dennis Grey, in cross-
questioning replies that he believes in God but he considers heaven and hell as a state
not a place. Talking heads is used to depict views of Dennis about the whole scenario.
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Juxtaposing of talking heads and video footage of cross-questioning contribute to the
main discourses of the documentary. Fourteen dialogues are depicted through talking
heads. The chapter ends with on-screen text along with music and song. Non-diegetic
sound is used for one minute and twenty seconds.
Catholic bureaucracy is criticized for protecting the pedophile priests. The
findings of a study commissioned by the US Catholic church are applied as inter-
textuality to enhance the main argument of the film. According to the finding, Dennis
Grey publicly denied the allegations against him after a settlement with Tony. All
lawsuits against Dennis were settled and in 2004 Tony reluctantly accepted $55,000
in the settlement. After that it was revealed that the diocese had a stock portfolio
worth $117,000,000. According to the report since 1950, there have been 11,750
reported cases of children who were sexually abused by 5,148 priests in the United
States. Tony and Wendy are living together however; Dennis lives far away from
Tony‘s residence. Since the study is commissioned by the US Catholic church, there
are some striking facts about Catholic Church that serve as eye-opener. In September
2005, the film was played on HBO and in different theaters of America.
The film is directed by Kirby Dick who has dominantly applied direct cinema
mode for the depiction sexual abuse by priests. Juxtaposing, sequencing, chapter titles
and non-diegetic sound is helping Dick in frame building processes. The following
graph shows the interference level of the filmmaker.

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Figure 6.13 Interference level of the filmmakers in the film ‗Twist of Faith‘
minutes. The film was nominated for Oscar. It was also nominated for Grand Jury
Prize in Sundance Film Festival. There are a number of films depicting corruption of
Catholic Church but not a single film is in the category of Oscar winner. The other
film ‗Deliver us from Evil‘ is based on the same discourses.

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6.2.1.7 Qualitative Analysis of „Prisoners of Paradise‟
The film ‗Prisoner of Paradise‘ was nominated for Academy Award‘s category
of ‗Best Documentary Feature Film‘. The film revolves around Kurt Gerron, a
German-Jewish actor, director, and cabaret star in Berlin in 1920s and 30s. Nazis
captured Kurt Gerron and sent him to the concentration camp ‗Terrasian Stud‘ where
he was ordered to write and direct a pro-Nazi propaganda film. Nazis wanted to
provide a proof to the entire world that Hitler‘s concentration camps were places of
culture and humanity.
‗Introduction: A shameful lie‘ is the title of first chapter that lasts four minutes
and six seconds. The chapter is constituted by voice over. ‗Terrasian Stud‘ is
introduced as a great Utopian experiment where European Jews are living together.
Nazis‘ idea of establishing ‗Terrasian Stud‘ in the center of Europe is satirically
discussed. It is explained through voice over, ―Terrasian Stud was a concentration
camp. These images were of a cynical house created by a Nazi propaganda machine
to convince an increasingly suspicion world that the millions of Jews disappeared
from Europe, were being well treated by the captains after being transported to the
East.‖ Nazis were trying to prove through their propaganda that Jews were being well
treated in the Terrasian Stud. Their decision to make a film on Terrasian Stud serves
as evidence to their propaganda. They wanted to provide a testimony and living proof
to the world about the ideal conditions provided to Jews. Kurt Gerron was selected to
make such film. Voice of authority mode is used as a rhetoric strategy throughout the
first chapter on archive footage. Sequencing of the archive footage is serving as a
beginning of the story. Seventeen dialogues are delivered through voice of authority
mode and non-diegetic sound is applied throughout the chapter. Schematic structures
are facilitating the filmmaker to depict Jews as victims of Nazis‘ propaganda.

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The second chapter is titled as ‗Berlin in the 20s‘ and lasts six minutes and fifty one
seconds. The chapter is constituted through voice over, songs and three Jew
participants; Robby Lance, Kamela Shapegha, and Allenora. The main discourses
depict life in Berlin during 1920s. Kurt Geron‘s personality profile is depicted. Geron
was a Jew with a great inclination towards performing arts. He regularly visited a
night club ‗Gooker‘, where anyone can perform on the stage for five Mark fee. He
was given a chance to perform in a stage drama ‗the wild‘ in 1921 and he turned to be
a marvelous artist. Voice over explains, ―Eager to forget the past and forged a brighter
future, Berliners ready to try anything in the arts and sciences, in music and theater, in
life itself.‖ Robby Lance, a co-star, discusses the excellent performance and
remarkable fame of Kurt Gerron. Kamela Shapegha, a Jew artist, tells about Kert
Gerron, ―He was obsessed with theater and he loved it. Allenora, a friend of Gerron,
tells about his luxurious life and too much eating habit. Robby Lance, Kamela
Shapegha and Allenora appear on the screen in talking heads mode while voice of
authority mode is repeatedly applied as a rhetoric strategy. Medium shots are applied
on the participants to depict them in talking heads mode. Out of forty three dialogues,
thirty three are delivered in voice of authority mode and ten are delivered by Robby
Lance, Kamela Shapegha, and Allenora in talking heads mode. Juxtaposing of the
talking heads is facilitating each other. Non-diegetic sound is applied for four minutes
and thirty five seconds that helps to depicts cheerful life of Jews in Berlin.
‗Stardom for Gerron‘ is the title of third chapter that lasts three minutes and
eleven seconds. The chapter is based on the interviews of Robby Lance and Allenora.
Some chunks of Kurt Gerron‘s film are added along with the songs to enhance his
exuberant character. Gerron is appreciated for his professional excellence that leads to
his popularity as well. During 1927, he appeared in twenty seven films and then after
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the huge success of ‗Blue Angel‘, Geron turned into a director. Robby Lance and
Allenora in talking heads mode, share their reflections and experiences about Geron.
The mode is used to convey presupposed personal relationship of audience with the
characters. Voice of authority mode is applied as a testimony to Gerron‘s character.
Out of twenty seven dialogues, seventeen are delivered in voice of authority mode and
ten are delivered by Robby Lance and Allenora in talking heads mode. Juxtaposing of
the talking heads is facilitating the arguments of the participants. Non-diegetic sound
is applied for one minute and fifty seven seconds to highlight Gerrons‘ fame.
‗Gerron Does not Take the Nazis Seriously‘ is the title of chapter four that
lasts five minutes and thirty four seconds. The participants are Robby Lance,
Allenora, Kamela Shapegha, and Megda Schneider. There is a reference to the
memoirs of Hiensruman, an actor and a friend of Gerron. He writes about Gerron, ‗He
was a big strong man with a mind like a child‘. According to Robby Lance, Nazis‘
spies were there in the studio and Jews were much conscious about that. Gerron was
apparently indifferent to Nazis but he was writing anti-Nazi parodies that discredited
him in Nazis‘ circles. In 1933 Nazi government proclaimed a nation wide boycott of
Jewish businesses. Although Gerron was working for Hitler but later on, he was asked
to quit the job for not being a pure Aryan background Jew and replaced by an Aryan
director, Eridh Von Neusser. Voice over shares, ―He had no way of making a living
in the city he loved‖. Nazis‘ biased approach towards Jews in conveyed through
interviews and voice over. All the interviews serve as a testimonial and juxtaposing
support the content produced in voice of authority mode. Out of thirty seven
dialogues, twenty four are in voice of authority mode and rest in talking heads mode.
Non-diegetic sound is applied for four minutes and fifty seconds that is supportive to
Gerron‘s positive image.

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Chapter five is titled as ‗Reluctant Exile‘ that lasts seven minutes and fifty one
seconds. The chapter is constituted by the interviews of Lohan Musse, Reine Seine,
Laura Musse and Kaze Brussu along with the voice over. Lohan Musse is the niece of
Gerron. Her parents fled Berlin to join Garron in Paris when she was a child. The
chapter depicts Gerron and his family‘s exiled life in Paris and then in Amsterdam.
Exiled Jews found Holland very accommodating as narrator described, ―With a
language and culture similar to his own and a long tradition of tolerance, Holland had
tolled thousands of German Jews‖. Laura in talking head mode portrays Gerron as
very kind and considerate person. According to Laura when her father and Gerron
completed their films, no cinema was willing to buy and screen those films. That‘s
how Gerron became bankrupt. Kaze Brussu in talking heads portrays Gerron as an
extremely professional man as she says, ―filmmaking was in his blood.‖ Reine Sein
and Kaze are film artists, highly indebted to Gerron for professional coaching and
guidance. The chapter overall depicts how talented Gerron was victimized at the
hands of Nazis. Talking heads and voice of authority modes are assisting each other
and serve as testimony for Gerron‘s arguments. Talking heads is used in twenty eight
dialogues delivered by Lohan Musse, Reine Seine, Laura Musse and Kaze Brussu
while thirty two dialogues are in voice of authority mode. Non-diegetic sound is
applied for four minutes and six seconds.
The sixth chapter is titled as ‗Ignoring Hollywood‘s Calls‘ and lasts five
minutes and forty one seconds. Laura Musse is the only participant. Letters of Gerron
and voice over are helping to constitute the chapter. Gerron wrote letters to his friends
asking for help in getting a job. He mentions in a letter, ―I have to disappear because
of an anti-Nazi move.‖ The chapter depicts the difficulties of Jews in getting jobs.
Though Gerron was getting offers from Hollywood but he declined and preferred to
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reside in Europe. Voice over tells that Gerron got a commercial of the Dutch airline
KLM, ―but exile Jews were being accused of taking jobs from Dutch workers and
after fierce opposition in the nationalist press, the airline cancelled Gerron‘s contract.‖
However, in Holland freedom of expression was not entirely strangled. So, exiled
Jews staged scores of reviews and cabaret in Holland. The title of the scene is
―Ignoring Hollywood‘s Calls‖. Voice of authority mode is mostly used supported by
text from letters and archive footage. These things serve as ‗transfer‘ and ‗testimonial‘
that are propaganda devices. Talking heads is used for Laura Musse who endorses the
title of the chapter. She shared that Gerron was paying no attention to Hollywood
calls. Out of forty five dialogues, four are in talking heads mode and forty one are in
voice of authority mode. Non-diegetic sound is used for four minutes and twenty two
seconds.
The seventh chapter titled as ‗Fiddling While Rome Burned‘ and lasts four
minutes and fifty six seconds. Silvia Gross is the only participant. Voice over explains
that till 1940 Hitler got control of Czechoslovakia, Poland, Belgium, Luxemburg, and
Holland. Gerron, Silvia and other artists were in Shrevening, busy with their
performances. There emerged an environment to avoid Jews as the voice over in
scene seven explains, ―But every where they turned, they saw the signs Jews not
welcomed, Jews forbidden. All across the other hostility towards the Jews grew more
patriotic.‖ Media and especially films were used to promote hatered against Jews.
Narrator tells that Gerboss ministry of propaganda was busy to degrade Jews through
films like ‗the Eternal Jews‘ in which rats and Jews are compared. Film is used as a
reference by quoting, ―Where ever rats turn up they bring destruction with them. They
infect human resources in the food, meat like counter parting in the human society are
the Jews.‖ Nazis chose Gerron to symbolize everything they despised about the Jews
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by taking clips from some of his best known roles. Gerron was used in a sophisticated
propaganda campaign designed by Gerboss. The thematic structure does not
completely match with the title ―Fiddling While the Rome Burnt‖ however schematic
structure support the discourses. Songs facilitate to enhance the impact. Voice of
authority mode is the mostly used mode as twenty six dialogues are in this mode.
Talking heads is used for Silvia and nineteen dialogues are depicted through it.
Juxtaposing of the two modes supports the arguments of one another. Altogether there
are forty five dialogues, all by the Jews. Non-diegetic sound is applied for three
minutes and forty two seconds.
‗Implementing the Final Solution‘ is the title of chapter eight that lasts two
minutes. Voice of authority mode on archive footage is used to constitute the chapter.
In 1942, Hitler‘s bureaucrats discussed Hydrikh‘s plan to slaughter Jews on an
industrial scale. Berlin Jews were being transported to the East to execute Nazis plans.
All the Nazi machinery was enthusiastically busy to endorse Hitler‘s ‗final solution of
the Jewish question‘. Documented evidence of Jews transportation to Terrasian Stud
and Auschwitz is shown on the screen along with their numbers. Voice of authority
mode is used as a rhetoric strategy and video clippings are integrated as evidence. All
the fifteen dialogues are in voice of authority mode used as a rhetoric strategy. Non-
diegetic sound is applied throughout the chapter.
‗All Jews Out‘ is the title of chapter nine that lasts three minutes and fifty
seconds. The chapter is constituted though Silvia Gross, Suzana Atana, and voice
over. Suzanne Atana, daughter of Kamela Shapegha, shares her experiences through
talking heads mode. She was in Amsterdam and six years old at that time. She says,
―There were big cars, with megaphones and calling ―All Jews out‖. In 1942, Kurt
Gerron was asked to work at Schaumberg which had been transformed into a
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deportation center for Jews. Suzana and Silvia both are depicted through talking
heads mode explaining the wretched and pitiable conditions of Jews at the hands of
Nazis. Video footage is used to support their description. Talking heads is the
dominant mode of this chapter as seventeen dialogues are in talking heads. Voice of
authority mode is used in four dialogues that altogether make twenty one dialogues.
Non-diegetic sound is applied throughout the chapter.
‗Westerbork‘ is the title of chapter ten that lasts five minutes and two seconds.
The chapter is constituted through Hans Margales, Kamuela Shapegha, voice over,
and songs. Scene opens with narrator‘s description about ‗Westerbork‘. It was a
Dutch transit camp through which 100,000 Jews were passed on their way to what the
Nazis called resettlement in the East. Kurt Gerron, Kamuela Shapegha and others
started theater at Westerbork. Gerron gained special status in Nazis eyes as a so called
useful Jew and he was promised to be transported from Westerbork to some safe
place. Gerron hosted a premier to honor 40,000 deported inmates. Dialogues and
archive footage show that Gerron was desperate to do something for his fellows but
he was helpless. Schematic structures are supportive to talking heads mode and two
songs are immersed into the chapter to show Gerron‘s entertaining performances.
Voice of authority is the dominant mode as eighteen dialogues are depicted through it
while eleven are in talking heads mode. Non-diegetic sound is applied for three
minutes and fifty six seconds that is supportive to depict miseries of Jews at
Westerbork.
Chapter eleven is titled as ‗Theresienstadt: ―Model‖ Ghetto‘ and lasts seven
minutes and fifty three seconds. The main participants are Margil Silberfeld, Jan
Fischer and Tommy Mendel. Voice over and two songs reflect filmmaker‘s treatment.
Voice over explains to audience that eight hundred and nine Jews prisoners who
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‗escaped the filth extenuation‘ and transferred to ‗Theresienstadt‘. Dramatic
recreation depicts Nazis ‗greeting new arrivals‘. Archive footage in black and white
supports the filmmaker to create an impact of something historical, original and
authentic. In 1780, Theresienstadt was built as a garrison town to protect Prague from
surroundings. Voice of authority explains that ‗the Nazis reinvented Terrasian Stud as
a model ghetto, a place to showcase prominent Jews.‘ The chapter depicts humiliation
of Jews by Nazis. Voice of authority explains, ―By the time the prisoners have been
processed, their first humiliation was complete.‖ Jews wretched conditions are
described as ‗hunger, over crowding and disease‘ were a common phenomenon
among the Jews of Theresienstadt. Schematic structures are supportive to the
discourses and songs facilitate to enhance the impact. Out of thirty nine dialogues, ten
are in talking heads mode and twenty nine are depicted through voice of authority
mode. Non-diegetic sound is used for three minutes and forty five seconds.
‗Culture Flourishes‘ is the title of chapter twelve and lasts five minutes.
Tommy Mendel, Pianist, Margil and two co-stars of Gerron are the participants. A
German language song and voice over support talking heads mode. Chapter starts
with voice over to contextualize the subsequent dialogues. Cultural activities in
Theresienstadt are depicted. One of Gerron‘s colleagues at Theresienstadt shares, ―We
rehearsed in the attic of a building where blind people lived. On the day we were
supposed to open, we found a pile of dead bodies in there, corpses from the floor to
the ceiling. Of course it was a terrible shock. I don‘t know how many were there,
forty, fifty, or hundred, I just don‘t know.‖ The dialogues show the double game of
Nazis. They tried to portray themselves as lovers of art and taking care of Jews. The
reflections of the artist show that Jews were confronted with horrible and contrary
circumstances. Tommy Mandl, Pianist, Margil and Gerron‘s colleagues are depicted
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through talking heads mode which is the dominant mode. Juxtaposing of talking
heads is supportive to the arguments of participants. In a total of thirty dialogues,
twenty nine are depicted through talking heads and only one is in voice of authority
mode. Non-diegetic sound is used for one minute and fifty six seconds.
‗Trying to Refute the Rumors‘ is the title of thirteenth chapter that lasts four
minutes and thirty four seconds. Coco Schumann and Paul Sandfort are the
participants who share their experiences. The chapter depicts that disquieting stories
were emerging from Eastern Europe about the mysterious fate of Europe‘s vanishing
Jews. So, Hitler planned to invite Red Cross for the inspection. Voice over tells that
how banned things were allowed for Jews. ―Swing music was banned in Germany as
decadent and subversive. It might surprise the Red Cross to see how much freedom
the Jews enjoyed here.‖ Jews were given good clothes and asked to behave well and
not to say bad words about Theresienstadt at the time of Red Cross visit. Gardens and
swimming pools were opened for Jews. Seven thousand five hundred and three Jews
were killed at Theresienstadt by that time. The dialogues show Hitler‘s expertise in
perception management. Non-diegetic sound including music and songs lastthree
minutes and forty six seconds. Sequencing of scenes and juxtaposing of modes
enhance the total impact. Out of thirty five dialogues, twelve are in talking heads
mode while twenty three are in voice of authority mode.
‗The Red Cross Visit‘ is the title of chapter fourteen that lasts three minutes
and fifty four seconds. The participants include Paul Sandfort and Maurice Russell.
The chapter depicts the details of Theresienstadt during Red Cross inspection. On
June 23rd, 1944, Red Cross made a visit to Theresienstadt and Nazis‘ made a
successful subterfuge. There were twenty seven Europeans in the Red Cross
inspection team. Maurice Russell was one of the European members. His observations
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in comparison with Theresienstadt‘s residents serve as a testimony to Nazis‘
maneuvering. Voice over strengthens the arguments delivered by residents of
Theresienstadt. Red Cross team took pictures of the Jews. Maurice Russell comments,
‗they say a picture is worth a 1000 words‘. The comment shows how realities are
constructed and popularized through technology. Juxtaposing of talking heads with
voice over consolidates the arguments. Out of twenty six dialogues, eighteen are in
talking heads mode while eight are in voice of authority mode. Non-diegetic sound is
used for two minutes and three seconds that is dramatizing the archive footage.
Chapter fifteen is titled as ‗Depicting Life as it Really Was‘ and lasts three
minutes and twenty four seconds. Salle Fischermann is the only participant. The
chapter shows how Hitler‘s maneuvering for Red Cross inspection resulted in
supportive assessment. Red Cross report motivated Nazis to make a film of
Theresienstadt for the entire world. Kurt Gerron was selected for making film.
Fischermann‘s dialogues are supportive to the voice over and certify the statements.
Voice over depicts how difficult it would be for Gerron to make a fake film. Voice of
authority mode is applied in twenty two dialogues while Fischermann‘s two dialogues
are in talking heads mode in the total twenty four dialogues. Non-diegetic sound is
applied throughout the chapter.
‗Gerron Directs the Propaganda Film‘ is the title of chapter sixteen that depicts
the commitment and passion of Gerron for his profession. Chapter lasts ten minutes
and thirty seconds. The main participants are Tommy Mandel, Coco Schumann Evan
Fritch, Salle Fischermann, Margil and Paul Sandfort. Gerron desperately accepted the
offer by Nazis to direct film on ‗The Paradise Ghetto.‘ The objective of the film was
to show standard living conditions of Jews however, he was not left with the option to
decline. Evan Frisch was the non-Jew camera man brought in by the Nazis everyday
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from Frank for the film. Evan Fritch tells, ―Once I wanted something from Gerron,
they said to the SS, would you be so kindest to tell Mr. Gerron this and that. Des SS
man screamed back, what Mr. Gerron are you talking about? He is a stinking Jew.‖
Voice over explains that Gerron‘s daily humiliation was witnessed by everyone. Evan
Fritch quoted the humiliation of Gerron by SS, ―The SS man shouted Jew bitch talk to
me.‖ Jews at Theresienstadt did not want to talk to or have any connections with
Nazis and Gerron was preparing film for them so people started disliking Gerron.
Voice over explains that being blond was a privilege of the master race so the children
in the opera were chosen for their good singing voices and their stereotypical Jewish
looks. The chapter ends on Gerron‘s remarks quoted by Evan Fritch, ―As a director I
can direct a scene but I can not erase the horror from people‘s eyes.‖ Talking heads
direct viewers to critically evaluate the chunks of the film from archive footage.
Songs are inserted to enhance the impact. Interviews of Mandl, Schumann,
Fischermann, Fritch, Margil and three other Jews of Theresienstadt are recorded in
talking heads mode. Out of seventy three dialogues, forty eight are in talking heads
and twenty five are in voice of authority mode. Non-diegetic sound is used for five
minutes and thirty eight seconds.
‗After the Cameras Stopped Filming‘ is the title of chapter seventeen that lasts
seven minutes and thirty three seconds. The chapter depicts the reflections of
Gerron‘s acquaintances after the completion of his film ‗The Paradise Ghetto.‘ Some
fellow Jews considered Gerron a traitor and a puppet in the hands of Germans. They
rejected to acknowledge him as an artist. Coco Schumann says about Gerron, ‗I will
call him a liar‘. When the film was complete, transport resumed immediately. Gerron
was moved to the Auschwitz by the last transport and murdered immediately upon
arrival. ‗The following day Heinrich Himmler ordered the gas chambers closed for
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ever.‘ According to Mandel, the film was meant for Europe‘s neutral countries but it
was never shown there. So, Gerron‘s film can not be criticized for any moral
consequences. Songs, music and the images of the existing Theresienstadt are inserted
at various points in the chapter to enhance the overall impact. Juxtaposing of talking
heads increases sympathies for Gerron and supports the overall discourses. Out of
thirty six dialogues, twenty two are in talking heads mode and fourteen are in voice of
authority mode. Both modes are juxtaposed each other and archive footage support
the dialogues. Non-diegetic sound is used for six minutes and eighteen seconds that
generate sympathies for the tragic end of Gerron. Credits appear in the last chapter
with music.
Malcolm Clarke and Stuart Sender are the directors of this film. Filmmakers‘
main proposition is to depict the miseries and agony of Jews during Hitler‘s regime.
Voice of authority with archive footage is used to depict Kurt Gerron and other Jews.
Voice of authority mode is considered as a point of view of the filmmaker, therefore
the film‘s score is high on the level of filmmakers‘ interference. Non-diegetic sound is
supportive to the archive footage. Juxtaposing, sequencing and titles of chapters help
filmmakers to build frames accordingly. The following graph shows the use of mode
for dialogue and time.

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Figure 6.14 Interference level of the filmmakers in the film ‗Prisoners of
Paradise‘
minutes. The film was nominated for Oscar. It was also nominated for Directors Guild
of America Awards. However, the film won DGC Team Award by Directors Fuild of
Canada.
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6.2.1.8 Qualitative Analysis of „Promises‟
The documentary film ‗Promises‘ was shot during 1997 to 2000 in times when
there was relative calm between Palestinians and Israelis. The filmmakers are Justine
Shapiro, B. Z. Goldberg, and Carlos Bolado. Goldberg is a Jew and has spent his
childhood in Jerusalem. The film is about seven Palestinian and Israeli children living
in or around Jerusalem.
The first chapter is titled as ‗Introduction‘ that lasts two minutes and thirty
three seconds. Goldberg, one of the filmmaker and narrator introduces himself and
shares the objective of the film. Goldberg is the only participant of the entire chapter.
His childhood memories are linked with Jerusalem‘s break outs, bomb blasts and
killings. He tells that children who belong to these areas want to say something about
conflict and conflict resolution but they never get an opportunity to voice their
opinion. That‘s why Goldberg decided to make a film about seven Palestinian and
Israeli children in and around Jerusalem. He says, ―There were no more than twenty
minutes for a child but they are each growing up in a very separate world.‖ The
dialogue shows filmmaker‘s planning to give equal time to all the leading participants
in the documentary. On screen text tells about the first ‗Intifada‘ (1987-1991). Intifada
is Palestinian uprising that led to the Israeli-Palestinian ―Peace Process.‖ Text shares
about the second ‗Intifada‘ started in 2000 and faced a fierce response of Israeli
military. As a result the region plunged into severe violence. Talking heads mode is
applied with the footage of Jerusalem. Sequence of scenes is assisting to introduce the
design of documentary. Total dialogues are nine delivered by Goldberg in talking
heads mode. Non-diegetic sound is used for one minute and fifty three seconds.
Second chapter is titled as ‗Twins‘ named after Yarko Solan and Daniel Solan
who are Ashkenazim Jews. It lasts three minutes and nine seconds. Yarko and Daniel
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are the main participants of this chapter. They are Jews, living in Israeli
neighborhood, West Jerusalem. They are quite concerned about the insecurity
especially in downtown areas. Yarko remarked about the insecure conditions, ―When
we are downtown, most of the explosions are downtown. So, I can‘t wait to get past
the downtown area. I count the seconds.‖ The dialogues depict that downtown areas
are more vulnerable. During the so called ‗Peace Process‘ insecurity was prevailing
and Jews children were quite apprehensive about their security. Post production
treatment includes music, text on the screen, Jerusalem map and juxtaposition of
talking heads with the text on screen. Talking heads mode is used for all the twenty
nine dialogues delivered by Yarko and Daniel. Non-diegetic sound is used for one
minute and thirty eight seconds.
‗Mahmoud‘ is the title of third chapter that lasts two minutes and fifty four
seconds. The chapter is named after Mahmoud, the only participant of this chapter.
Mahmoud is a Muslim child, lives in East Jerusalem, Palestinian neighborhood.
Mahmoud is of the view that Jerusalem belongs to Muslims so how Jews can claim it.
He gives the argument, ―Why does the Quran say that the Prophet, Mohammad (peace
be upon him) flew from Mecca to the Al Aqsa mosque in Jerusalem. So, Jerusalem
belongs to us, to the Arabs.‖ Mahmoud considers Israel a very natural country of
Muslims. The argument depicts that some of the Muslims interpret Jerusalem from
Quranic perspective. The footage of McDonald and satellite dishes on the house tops
depicts East Jerusalem as a modern place. The chapter depicts the viewpoint of
Mahmoud from East Jerusalem. Jerusalem map, text on the screen, music and
different images are part of schematic structuring and facilitate to develop the
discourse of the scene. Preference is given to ‗text on screen‘ as compared to voice
over that gives the impression of dissociation of the content from the narrator. Three
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statements appear on the screen. Music is eastern and talking heads mode is used for
twelve dialogues delivered by Mahmoud. Non-diegetic sound is used for thirty three
seconds only for the chapter transition.
‗Shlomo‘ is the title of fourth chapter, named after the participant and lasts
two minutes and thirty two seconds. Sholomo and Goldberg are the participants of
this chapter. Sholomo is a Jew born in the Jewish Quarter of Old City, Jerusalem. He
is the son of a Rabbi from the United States. Shlomo is learning Torah by heart with
great commitment, devoting twelve hours everyday to learn Torah. He says, ―I live in
the city of Jerusalem, an old city and I hear the church bells irrupt and I hear the Jews
praying so it will really bother me very much if I would not live here and would not
get used to it.‖ Jerusalem is sacred for Muslims too so Shlomo thinks that Saddam
Hussein will never bomb it. However, he considers Saddam Hussein as terrorist.
Goldberg asks Shlomo if it is Sholomo‘s duty to convert non-practicing Jews into
practicing ones. Sholomo replies that each person comes to the Rabbi with the spirit
to do something so the person is assigned to perform a particular job depending on the
qualities of a person. The chapter depicts the lifestyle, interests and conditions of Jews
living in Old City. Juxtaposing of talking heads and voice of authority facilitate to
reflect the perspective of Shlomo as a Jew. All the sixteen dialogues are delivered by
Jews. Two dialogues are in voice of authority mode and rest in talking heads mode.
Non-diegetic sound is used for one minute and five seconds.
‗Sanabel‘ is the title of fifth chapter, named after the participant and lasts four
minutes and thirty seconds. Sanabel and Goldberg are the participants of this chapter.
Sanabel is a Muslim girl, living in Deheishe refugee camp. Voice over tells how the
Deheishe refugee camp came into being. Israelis labeled 1948 conflict as ‗War of
Independence‘ however, Palestinians labeled it as ‗catastrophe.‘ The conflict resulted

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in forced flees of 750,000 Palestinians settling in refugee camps around neighboring
Arab States. Voice over explains that in 1967, Israel conquered the Gaza Strip and the
West Bank. As a result many of the camps came under Israeli military occupation.
Now more than 11,000 Palestinians are living in Deheishe refugee camp. Sanabel‘s
father, a journalist and a local leader of the Popular Front for the liberation of
Palestine (political faction) vehemently opposes the peace process. He remained
behind the bars without any formal charges for two years and the chapter depicts him
still in Israeli jail. Sanabel tells about the ‗Holy Dome of the Rock‘ built for her father
by prisoners of Ashkelon jail who belonged to Hamas. Sanabel‘s father is a hero for
Palestinians but a rebellion for Israelis. The chapter depicts Muslims‘ living
conditions in refugee camps which are very pathetic. Text on the screen, music and
juxtaposing of talking heads assist to highlight the poor conditions of Muslims living
in the camp. Out of twenty nine dialogues, fifteen are delivered by Sanabel and
fourteen by Goldberg, all in talking heads mode. Non-diegetic sound is used for two
minutes and thirty three seconds.
‗Faraj‘ is the title of sixth chapter, named after the participant and lasts two
minutes and nineteen seconds. Faraj is a Muslim child residing in Deheishe refugee
camp. The scene starts with Goldberg‘s account of his last visit to Deheishe as a
journalist. He tells that ‗Intifada‘ started from refugee camps by Palestinian youth,
using ‗stones‘ as their weapon. Goldberg‘s comment shows that Palestinians are not
involved in violent activities rather they want to register their protest against Israelis.
Faraj tells how twelve years old Bassam was martyred in Deheishe Camp during a
curfew. ―My friend Bassam threw a stone through an open window, and a soldier shot
Bassam, killed him. I wanted to cut that soldier in half, shoot him or blow him up to
avenge Bassam‘s death.‖ Faraj‘s narration depicts the brutalities of Israelis. The
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epitaph of Bassam‘s grave carries the text, ―Those killed in God‘s name are not dead.
They are alive at His side. We belong to God and to God we shall return.‖ The text on
epitaph is Quranic verses, showing that Muslims get their strength from God and
inspiration from Quran. Faraj encourages people to take part in Intifada because
stones helped to liberate nearly half of Palestine. How pitiable it is that Palestinians
are using stones to defend themselves against guns and nuclear stuff. The main
discourse appears to depict the helplessness of Palestinians living in refugee camps
and their involvement in Intifada. Temporal processes are very subtle as Faraj appears
in the chapter for two times after a one year gap. Footage of camp, Bassam‘s grave,
and Muslims offering prayers are integrated in the chapter to support the perspective
of Faraj. Sequencing of scenes helps to highlight Faraj as a Palestinian Muslims. The
chapter ends on Muslims offering prayers, reciting seventh verse of Surah ‗Al
Fatihah, ―Those whose portion is not wrath, and who go not astray‖. In a total of
thirteen dialogues, six are by Goldberg and seven by Faraj, all in talking heads mode.
Non-diegetic sound is used for thirty four seconds.
‗Moishe‘ is the title of seventh chapter, named after its participant and lasts
three minutes and thirty five seconds. Moishe, a Jew child, is living in Beit El and
wants to be a religious Commander in Chief. The chapter starts with music and
Goldberg tells the history of the Jewish settlements in West Bank after the 1967 war.
Israeli government backed Jew settlers during 1967 to occupy Arab territories. Jews
believed that the land is biblical land of Judah and Samaria so, it belongs to them.
Goldberg tells, ―There are more than 150,000 settlers living in the West Bank. Beit El
is one of the oldest and largest settlements.‖ History of the dispute is shared through
voice over and Jews perspective about their occupation is explained. As Moishe says,
―God promised us the land of Israel.‖ He quotes the statement from the book of
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Genesis as an argument, ―Rise and walk the land‖ and explains that God is addressing
our forefather Abraham. That‘s why he claims that Beit El belongs to Jews. All Arabs
should flee from the place and then the Temple would be rebuilt. The argument is in
contrast with the Mahmoud‘s argument. Both are quoting text from their religious
books. The main discourse is to depict Beit El and the viewpoint of Jews living there
through Moishe. Post production treatment includes music and juxtaposing that are in
agreement to the main discourse. All the thirty two dialogues are by Goldberg and
Moishe. Seven dialogues are in voice of authority mode and rest in talking heads
mode. Non-diegetic sound is used for one minute and four seconds.
‗Raheli‘ is the title of eighth chapter, named after its participant and lasts three
minutes and twenty three seconds. Goldberg and Moishe are the other participants, all
Jews. Raheli is a practicing Jew girl who explains Shabbat throughout the scene. She
refuses to shake hand and considers it immodest action. She believes in observing
Shabbat with all the formalities. Talking heads mode is applied on all the twenty nine
dialogues. The chapter depicts the aspirations of practicing Jew children. Raheli is
very imaginative about Shabbat‘s celebrations as a married woman. Though Moishe
and Raheli belong to the same place but their future aspirations are different as
Moishe wants to join army and work as chief commandant. Sequence of scenes
contributes to the development of the documentary design. Non-diegetic sound is not
used in this chapter.
The title of ninth chapter is ‗Checkpoints that lasts two minutes and fifteen
seconds. The participants are Goldberg and Faraj. The discourse is to depict problems
of Palestinian Muslims in the form of checkpoints. The chapter starts with eastern
music. Goldberg is shown entering into Jerusalem from West Bank. On the way
Goldberg tells that checkpoints are established at all crossings between West Bank
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and Israel. Palestinians cannot enter into other areas without the permit issued by
Israeli military. Palestinians are perceived as threats to the security of Israelis and
considered terrorists. Goldberg tells, ―For Palestinians, checkpoints are a daily
reminder of the occupation. As an Israeli traveling a car with an Israeli license plate,
checkpoints are no inconvenience.‖ The comment explains how difficulties are
created for Muslims. Faraj tells that Jews and Americans are welcomed at the
checkpoints but Arabs are searched and humiliated. Talking heads mode is applied
and video footage is used to corroborate the statements. Total eleven dialogues
constitute the chapter; five by B.Z. Gold and six by Faraj. Non-diegetic sound is
applied throughout the chapter.
Chapter ten is constituted through the discussions of Yarko, Daniel and their
grandfather. The grandfather left Poland during WWII in search of a place where
Holocaust could never happen again. The chapter is titled as ‗Somewhere Safer‘ and
lasts one minute and forty nine seconds. Many a Jews moved to Israel during that
period to establish their state in Israel. Yarko inquires from his grandfather, ―Some
Jews think that God made this state.‖ The grandfather is of the view that Israel is not
established by God rather Jews made efforts for that. The title depicts Israel as a safe
place for Jews after the Holocaust. Reference to the word holocaust creates favors for
Israeli Jews and justifies their stay to certain extent. Sequence of scenes, music and
juxtaposing of talking heads are supportive to get sympathies of audience for Jews.
Non-diegetic sound is used for twenty four seconds for chapter transition. All the
twenty three dialogues are delivered by Jews, depicted through talking heads mode.
‗Al-Aqsa Mosque‘ is the title of chapter eleven that lasts two minutes and fifty
two seconds. Goldberg and Mahmoud are the participants. The chapter starts with
music and shoots of Beit El Maqdus where Muslims and Jews are offering prayers.
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Muslims and Jews both claim that Haram Al Sharif belongs to them. Goldberg
narrates, ―The Temple Mount or Haram Al Sharif is holy to both Jews and Moslems.
For Jews, this is where the Jewish Temple stood 2000 years ago. For Moslems, this is
the site of Mohammad sanctioned to Heaven and the home of two Islam‘s holy
shrines, the Dome of Iraq and the Al Aqsa mosque.‖ Mahmoud shares that whenever
he enters Al Aqsa mosque, he gets a feeling of being present before God. The scene
ends on Mahmoud offering prayers in Al Aqsa mosque. Mahmoud is a practicing
Muslim child who claims that Jerusalem belongs to Muslims. Significance of Al Aqsa
Mosque for Muslims is highlighted through juxtapositions, music and footage.
Talking heads mode is applied for all the six dialogues. Three statements are by
Mahmoud and three by Goldberg. Non-diegetic sound is used for one minute and
twelve seconds.
‗The Western Wall‘ is the title of twelfth chapter that lasts three minutes and
thirty nine seconds. All the five participants of this chapter are Jews. The main
discourse is to depict the significance of the ‗Western Wall‘ that is holiest site of
Jews. Video footage shows Jews praying and reciting Torah there. Tourist Jews, who
visit Jerusalem, also visit Western Wall. Goldberg invites Yarko and Daniel there.
According to Goldberg, ―Like many secular Israelis, the twins want little to do with
religious Jews.‖ These remarks depict Yarko and Daniel as non-practicing Jews.
When Yarko and Daniel arrive there, they are scared of the practicing Jews.
According to Jewish tradition, believers put their requests in ‗Western Wall‘ for God
to read. Goldberg shares that he has been following the tradition of putting papers into
the Western Wall. He usually wished for peace. Daniel writes a note wishing that his
school could win volleyball championship. Juxtaposing is supportive to the arguments
of the main characters. Direct cinema and talking heads mode is applied in all the
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twenty five dialogues. Direct cinema mode is used to depict Jews praying and reciting
the verses. Non-diegetic sound is not applied throughout the mode.
Chapter thirteen is titled as ‗The Palestinian Dance‘ that lasts one minute and fifty
five seconds. Main discourse is to depict Palestinian Muslim children of Deheishe
Refugee Camp. The children are practicing traditional dance that serves as a means to
tell stories of refugees. They have to give the performance in their school. Goldberg
through voice over tells, ―The dance celebrates the resilience of the Palestinian people
and their dream of Palestinian statehood.‖ Footage shows children busy in the dance
practice. Sanabel along with other children sings national song on school stage. The
wording stirs patriotic feelings. The discourse is to depict activities of the children of
Deheishe Refugee Camp. Voice of authority and direct cinema mode are applied in all
the seven dialogues. Two dialogues are by Goldberg in voice of authority mode and
five are in direct cinema mode in the form of a song. Text, music and juxtaposition
are supporting to highlight the activities of Deheishe Refugee Camp children. Non-
diegetic sound is used for one minute and seven seconds.
‗The Jerusalem Finals‘ is the title of fourteenth chapter that lasts one minute
and forty five seconds. Goldberg and Yarko are the main participants of this chapter.
The discourse is to depict the activities of Jew children. Previous chapter reflected the
activities of Muslim children at Deheishe Refugee Camp. Yarko and Daniel‘s
volleyball team is in Jerusalem finals. Winning team is going to represent Jerusalem
in the national championship. Twelfth chapter is about Jews tradition of putting
papers into the ‗Western Wall‘. With reference to that tradition, Yarko tells that last
time he did that but lost the match. However, Daniel has put paper there to win the
match. Sequence of the chapters depicts the activities of Muslim and Jew children
side by side. Rhetoric strategies applied are voice of authority and talking heads
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mode. There are total three dialogues; two by Goldberg in voice of authority mode
and one by Yarko in talking heads mode. Non-diegetic sound is not applied in
throughout the chapter.
‗Faraj: The Sprinter‘ is the title of fifteenth chapter that lasts three minutes and
nine seconds. The participants include Goldberg, Faraj, Yarko and Daniel. The
chapter starts with the children singing in a coach, going to participate in the sports.
The theme is to depict the spirit of Palestinian children to participate in games. Voice
of authority tells that Faraj is representing Deheishe Refugee Camp as first ever
Palestinian track meet. Direct cinema mode depicts that Faraj got second position.
Yarko and Daniel, in talking heads mode, discuss Faraj‘s emotions on his conquest.
The chapter highlights that the emotions of human being are same irrespective of their
religion. Children feel happy for participating in a game and become sad after losing
it. Religion does not influence the emotional responses. Three modes are applied
including voice of authority, direct cinema and talking heads for a total of eighteen
dialogues. Direct cinema mode is used to depict playground activities. Non-diegetic
sound is not used.
Chapter sixteen is titled as ‗Ashkelon Jail‘ depicting Deheishe Refugee Camp
and Israeli checkpoint. The chapter lasts three minutes and fifty five seconds. The
participants include Sanabel‘s family, Israeli military and Goldberg. The chapter starts
with Sanabel‘s family listening to recitation of Holy Quran and getting ready to meet
Sanabel‘s father at Ashkelon Jail. Goldberg tries to meet Sanabel‘s father but denied
by Israeli authorities as they consider it a security risk. The chapter shows that
Palestinians are facing difficulties posed by Israelis everywhere. Letter of Sanabel‘s
father to his family is integrated into the chapter that highlights the conduct of
Israelis. Post production treatment includes juxtaposing of voice over to direct

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cinema, text and letter of Sanabel‘s father. On screen text informs about places and
time. Voice of authority and direct cinema mode is applied. Out of sixteen dialogues,
twelve are by Goldberg and Israeli military while four statements from the letter are
included in the chapter. Non-diegetic sound is used for three minutes and forty two
seconds.
‗Our Land‘ is the seventeenth chapter that lasts three minutes and thirty five
seconds. The participants include Moishe, Sholomo, Yarko, Mahmoud, Sanabel, Faraj
and his grandmother. The chapter brings out viewpoints of Muslims and Jews
regarding the land. Muslim children Mahmoud, Sanabel and Faraj give their
arguments that how the land belongs to them. Mahmoud considers since he was born
and raised there, so land belongs to him. Faraj shows land deeds that prove his family
to be the owners since 1931. He says, ―We won‘t harm the Jews and they won‘t harm
us.‖ Sanabel‘s family was kicked out from their place and now living at Deheishe
Refugee Camp. Among the Jew children, Yarko thinks that both people can live
together. Sholomo believes that the Palestinians quitted from the place fifty years ago
so their attempts to come back are just like hawk. Moishe quotes from Torah that God
said to Abraham, ―I will give to you and to your descendants, all the land of Canaan
for an everlasting possession.‖ He furthers that this blessing passed from Abraham to
Isaac to Jacob. Then an angel changed Jacob‘s name to ‗Israel.‘ Since they are called
Israel, land belongs to them. Talking heads mode is applied throughout the chapter.
Equal numbers of Muslim and Jew children‘s viewpoints are included through talking
heads. Faraj and Yarko believe that Muslims and Jews can live together. Moishe and
Mahmoud claim to be the actual owners. Out of thirty nine dialogues, eighteen are by
Jews and twenty one are by Muslims. Non-diegetic sound is used for ten seconds for
the chapter transition.

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Chapter eighteen is titled as ‗There is Our House‘ that lasts five minutes and fifteen
one seconds. The participants include Goldberg, a journalist, Faraj and his
grandmother. Main discourse is to depict Faraj‘s family background. The chapter
starts with music. Goldberg‘s voice over narrates that Faraj‘s family belonged to Ras
Abu Ammar Village that is inside Israel. The chapter depicts Faraj and his
grandmother visiting the place and offering prayer there. Grandmother tells how Jews
blew up their land. Then Faraj and Sanabel are shown chanting slogans in a
procession. The slogans include, ―We don‘t want to see Zionists… The Martyr has
sacrificed his blood‖. A Zionist is a member of the movement of world Jewry that
arose late in the 19th century with the aim of creating a Jewish state in Palestine. The
chapter depicts Muslims struggling to get back their homeland. Three modes are
applied to depict all the sixty three dialogues. Voice of authority mode is used for
Goldberg‘s two statements about Faraj‘s family background. Direct cinema mode is
applied to show procession and Faraj‘s grandmother offering prayer. Faraj, his
grandmother and journalist are depicted through talking heads mode for a total of
forty three dialogues. Juxtaposing of modes is supportive to the main discourse and
non-diegetic sound is used for fifty seconds only.
Chapter nineteen is titled as ‗All of Jerusalem‘ and lasts five minutes and forty
seconds. The participants include Moishe, Daniel, Yarko, Sanabel, Mahmoud,
Goldberg, teacher and students. The main discourse is to depict the conflicting
perspectives of Muslims and Jews about Jerusalem. The chapter starts from the
depiction of a classroom of ‗Faith Islamic Boys School‘ situated in East Jerusalem.
Teacher discusses the concept of freedom and captivity to know the perspective of
Palestinian children. Teacher inquires students‘ perceptions about, to whom Jerusalem
belongs to. The answers include; the Palestinians, the Canaanites, and the Muslims.
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The scene is followed by the reflections of Jewish and Muslim children about
Jerusalem. Daniel thinks that Muslims want Jerusalem as their capital while Yarko
suggests solving the problem through international think tank. Moishe says, ―I would
clear out the Arabs from the Mount of Olives and all Jerusalem.‖ The remaks show
that Moishe believes Jerusalem belongs to Jews. Sanabel shares how they are
deprived of going to Jerusalem. Since Mahmoud and his family are Jerusalem Arabs,
they do not need a permit to cross the checkpoint. According to Mahmoud the
celebration of the reunification of Jerusalem is an act of provocation because
Jerusalem is for the Arabs and not for the Jews. Mahmoud supports the killings of
Jews by Hamas and Hezbollah. He says, ―The more Jews we kill, the fewer there will
be, until they are almost gone.‖ Goldberg narrates through voice of authority that until
1967, Jerusalem was divided into West and East Jerusalem between Israel and Jordan
respectively and Jews had no access to their holy sites. Goldberg says, ―When Israelis
conquered the West Bank, all of Jerusalem came under Israel.‖ The modes applied are
voice of authority, talking heads and direct cinema for a total of sixty five dialogues.
Non-diegetic sound is used for one minute and eleven seconds.
‗Murdered‘ is the title of twentieth chapter that lasts four minutes and nineteen
seconds. Moishe and Daniel are the main participants. The chapter starts with
Moishe‘s explanation of his friend‘s murder. Ephraim Tzur was twelve year old Jew,
murdered by terrorists along with his mother. Moishe believes that Ephraim is in
heaven and if he gets a chance to make one wish to God, he will ask God to send
Messiah so that he can get back all the people murdered by terrorists. On Memorial
Day for Israel‘s fallen soldiers and victims of terrorism, Daniel says that in a war
people on both sides die so winning of one side is not actually a winning. The
comments show Daniel opposing war in any case. He gives the simile of Holocaust to
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murdered Israeli soldiers. Holocaust is always referred to by Jews to get sympathies.
Only the Jews are depicted as ‗murdered.‘ The participants are Moishe and Daniel,
both Jews. Talking heads and direct cinema modes are applied to constitute the
chapter. All the thirty five dialogues are in talking heads mode. Footage is used as a
testimony to the dialogues. Juxtaposing of modes, text and footage assist to bring
forth war and conflict damages. Non-diegetic sound is used for one minute and thirty
seven seconds.
‗Hadassa Hospital‘ is the title of chapter twenty one that lasts three minutes
and thirteen seconds. The hospital is situated in West Jerusalem. Yarko and Daniel go
there to see Matan, their childhood babysitter, who gets injuries by the explosion of a
missile. Yarko responds to Matan about joining army, ―I might want to be in a combat
unit but I don‘t want to kill people. And in a combat unit you have to kill people,
right‖. Matan says, ―I also don‘t want to kill people.‖ The scene depicts Jews not in
favor of killing. Goldberg narrates through voice of authority mode about orthodox
Jews who are not taking part in military service. He says, ―Military service is
compulsory in Israel but all the orthodox Jew boys like Sholomo are exempt. Instead
of serving in the army, they continue their religious studies, receiving a monthly
stipend from the government.‖ The scene is followed by Sholomo‘s comment that
religious study is as good as joining the army. Sholomo believes that Torah facilitates
to do anything that the modern knowledge can. The remarks show Jews deliberate
considerations for army and religious education. Israeli military service is compulsory
for all Jews except those who are engaged in religious studies. Juxtaposing of chapters
and scenes depict that consequences of war are discouraging young Jews to join
military service. Non-diegetic sound is not used throughout the chapter. Talking heads
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and voice of authority modes are applied for a total of thirty two dialogues. All the
dialogues are delivered by Jews.
‗Burping Contest‘ is the title of chapter twenty two that lasts two minutes and
two seconds. Sholomo and Goldberg are the main participants. ‗Old City‘ is filmed
that serves as border between Muslim Quarter and Jewish Quarter. Sholomo‘s
maintains that most of the Jew children are innocent but Arabs‘ are usually rude,
fighting and cursing other people. A Palestinian boy during his conversation to
Sholomo asks, ―Do you know of any Jews who are Palestinians‘ friends?‖ Sholomo
replies, ―I know a lot of fathers like who have very nice communication between each
other but kids almost never.‖ These dialogues depict that the new generation is not
friendly to one another. Direct cinema mode shows Sholomo in a ‗burping contest‘
with a street boy. It can be inferred that Jew and Muslim children are not having
healthy contest. However, Jew children are depicted more positively through video
footage and juxtaposing of the direct cinema with talking heads. Direct cinema and
talking heads modes are used. Five dialogues are delivered by Jews in talking heads
mode and eleven are in direct cinema. One statement appears on the screen to set the
context. Non-diegetic sound is used for four seconds and serves as a link to the next
chapter.
‗Why Don‘t We Meet Them‘ is the title of chapter twenty three that lasts four
minutes and twenty eight seconds. The participants include Faraj, Mahmoud, Sanabel,
Ahmad, Motassam, Moishe, Daniel, Yarko, and Goldberg. The chapter brings forth
the reasons by Jew and Muslim children for not meeting with each other. Mahmoud
says, ―I don‘t like talking to Jews. I know them. They are mean and deceitful, since
the time of the Prophet Mohammad (PBUH). They betrayed him in battle and fought
against him.‖ Mahmoud is always referring to Quran and Prophet Mohammad

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(PBUH) to explain Jews. Moishe thinks that his friends will curse him for meeting
with Arab kids. The Arab kids could be terrorists in future. He, himself is not against
Arabs or Muslims. Faraj says that he thinks of throwing a stone whenever he sees a
Jew. ―Any Jew who sees me would think I am a terrorist.‖ Faraj wants a positive
perception about Palestinians. He explains the hatred between Palestinians and
Israelis. Since the relatives of the families of both sides have been killed by each other
that is why hatred for each other exists. On Yarko‘s suggestion to meet Muslim
children, Goldberg visits Deheishe Refugee Camp. Faraj, Motasam and Sanabel are
willing to meet Jew children but Faraj does not appreciate the idea. Faraj is criticized
by Motasam, Ahmad and Sanabel. All the three think that it is necessary to create
peace, understanding, goodwill and congenial environment. Mahmoud also rejects the
idea of seeing any Jew and when Goldberg tells him that he is a Jew, Mahmoud views
him as a non-authentic Jew. According to Mahmoud authentic Jews speak Hebrew,
belong to Israel and are not mixed breed. Talking heads mode is used throughout the
chapter. Juxtaposing of talking heads and text supports the main discourse. In a total
of sixty seven dialogues, thirty one are by Jews and thirty six are by Muslims. Non-
diegetic sound is used for one minute and seventeen seconds.
The title of chapter twenty four is ‗Invitation‘ and lasts six minutes and eight
seconds. The participants include Motassam, Ahmad, Faraj, Sanabel, Goldberg,
Yarko, Daniel and their parents. Chapter starts in direct cinema, filming ‗Solomon
Pools‘ that is just behind Deheishe camp. On the invitation of Goldberg, Muslim
children think that they should meet the Jewish children. The meeting will help to
know each other‘s viewpoints. Ahmed says, ―If we refuse to meet Jewish kids, and
they refuse to meet us, there will never be peace between us and the Jews, nor
between any two countries.‖ Motasam thinks that checkpoints and borders should be
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removed. Faraj thinks that meetings are futile while Sanabel is in favor of children‘s
meetings and politicians should not be involved. She says, ―No Palestinian child ever
tried to explain our situation to the Jews.‖ Parents of Yarko and Daniel have some
security reservation in visiting to Muslim children. However, after some discussion
Yarko and Daniel get permission. Direct cinema and talking heads modes are used for
a total of seventy nine dialogues. Forty seven dialogues are by Muslim children while
thirty two by Jews. Non-diegetic sound is insignificant and lasts seventeen seconds.
Chapter twenty five is titled as ‗The Meeting‘ that lasts eight minutes and
seven seconds. The main discourse is to depict meeting of Jew and Muslim children
to discuss the issue of Palestine. Direct cinema depicts Faraj listening to an Arabic
song and getting ready to meet Jew children. Yarko and Daniel discuss Hamas in a
frightening way. Their mother draws their attention to the Arabs being searched at the
checkpoints. Yarko says, ―It‘s not fair, it‘s their land. Why do they have to be
searched?‖ The comments show that now Yarko can understand the kind of
humiliation Arabs face on the checkpoints. Palestinian children welcome Yarko and
Daniel and show them the place with bullet holes which was the center of clashes
during Intifada. Faraj tells, ―Many people were martyred here. Boys threw stones and
the soldiers would shoot at them.‖ It is surprising for Yarko and Daniel that
Palestinians are hit by real bullets. Faraj asks them not to speak Hebrew as it is
considered the language of Israelis. Direct cinema mode shows children playing
football, taking lunch together and sharing their views. The chapter suggests the
feasibility of peaceful interactions between Jews and Muslims. In the total twenty
nine dialogues, twenty one are delivered by Jews and eight dialogues by Muslims, all
in direct cinema mode. Non-diegetic sound is used for one minute and thirty five
seconds.
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‗Our Day Together‘ is the title of chapter twenty six that lasts two minutes and fifty
one seconds. The chapter is constituted through the children in direct cinema mode.
The children share their reflections like Daniel says, ―Just like all Palestinians are not
Hamas-nicks, not all Israelis kill Arab.‖ The statement reminds Motassam of his
brother killed by Jews and he starts crying. Ahmed tells that Motassam‘s brother went
to herd the sheep on mountain with his friends. There he joined people throwing
stones and was killed by a bullet. Yarko justifies by saying that Israelis are also killed
and Daniel reiterates by saying, ―Its not one sided. On TV we see pictures of people
killed by Hamas.‖ The scene depicts meeting of children as successful. Children
realize that both sides are facing loss. They feel that all the people are not involved in
killing each other but there are some people who want peace. In the total twenty nine
dialogues, thirteen are by Jews and sixteen by Muslims, all in direct cinema mode.
Non-diegetic sound is not used in the chapter.
‗Respect Will Grow‘ is the title of chapter twenty seven that lasts three
minutes and thirty nine seconds. The chapter is filmed after the meeting of children
with a gap of two years. The children are interviewed after two years of their meeting.
Sanabel and Moishe are of the view that increased interactions between Jews and
Muslims can help to resolve the conflict. Mahmoud connects the resolution of conflict
with the retrieval of land to Muslims. Sholomo and Yarko are not concerned with the
friendly relations between Jews and Muslims. However, Faraj wants to maintain
contact and interaction with Jewish children that seems impossible to Daniel due to
checkpoints and other complications. Faraj is disappointed of the endless ongoing
conflict, war and catastrophe. The chapter depicts that the resolution of Palestinian
conflict and the retrieval of land to Palestinians will grow respect between Jews and
Muslims. The main discourse is to encourage interactions between Jews and Muslims.
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Non-diegetic sound is not used in the chapter. Talking heads mode is used for a total
of twenty nine dialogues. Fourteen dialogues are delivered by Muslims while fifteen
dialogues are by Jews.
The last chapter is titled as ‗End Credits.‘ The chapter begins with the burning
tyre moving on the road which symbolizes the ongoing crisis in Israel and Palestine.
Newly born babies are depicted which is again symbolic and depicts the continuity of
life and hope in spite of the entire catastrophe. Direct cinema mode depicts the scenes
followed by end credits.
B.Z. Goldberg, Carlos Bolado and Justine Shapiro are the directors of this
film. Talking heads is used for maximum times. Goldberg, a Jew, also appears in the
film. Filmmakers selected Jew and Muslim children as main participants to explain
Palestinian issue in religions‘ perspectives. Talking head is perceived as the point of
view of the participant (Bordwell & Thompson, 2004: 132). Filmmakers‘ strategy is
to build the frames with the perspectives of Jews and Muslims. Technical treatment is
used for frame setting to amplify the case of Palestine and its implications on the
residents and next generations. However juxtaposing, sequencing, chapter titles and
non-diegetic sound help the filmmakers to depict Palestinian issue from historical
perspective as well as current scenario. The main argument is to highlight the
significance of mutual negotiations to resolve the conflict. Narrative structures
describe the case from historical perspective through on-screen text and
representatives of the two religions. Filmmakers have presented their argument
through Jew and Muslim children‘s opinions and reflections. The following graph
shows the interference level of the filmmakers.

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Figure 6.15 Interference level of the filmmakers in the film ‗Promises‘
Film‘s running time is 106 minutes and non-diegetic sound is applied for 32
minutes. The film was nominated for Oscar however it won twelve other awards
including Documentary Award in Buster International Children‘s Film Festival,
Golden Starfish Award in Hampton International Film Festival, Prize of the
Ecumenical Jury in Locarno International Film Festival, three Audience Awards, Best
Documentary Award in Valladolid International Film Festival, and Most Popular Film
Award in Vancouver International Film Festival. The film was also nominated for
MTV Movie Award, and Independent Script Award.

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6.2.1.9 Qualitative Analysis of „Into the Arms of Strangers‟
Oscar-winning film (2000), ‗Into The Arms of Strangers‘ is written and
directed by Mark Jonathan Harris. The film tells the stories of refugee children who
were transported to Britain to escape the Nazi Holocaust prior to WWII. In the late
1930s, 10,000 Jewish children of Central Europe were transported to England. Their
stories are narrated by Judi Dench along with the interviews of some of the survivors.
They are in their 70s and recall their feelings and experience during the kinder
transport. The film concentrates on their individual stories and the rescue operation by
British army to save Jew children in Germany, Austria and Czechoslovakia.
The first chapter is titled as ‗Prologue‘ that lasts one minute and twenty seven
seconds. Prologue means introduction to a play. The prologue of this documentary is
given by one of the survivor who tells that life seems to be normal but there is
suffering inside. All the four dialogues are in talking heads mode. Agony of the
holocaust survivors is deeply-rooted inside them though they are busy in everyday
routines. Non-diegetic sound is used for one minute and six seconds.
‗Pride and Joy‘ is the title of chapter two that lasts three minutes and twenty
three seconds. The main participants include Lory Cahn, Kurt Cuchel, and Eva
Hayman. All were rescued and they share their feelings and experiences. The chapter
starts with a song and followed by Judi Dench‘s narration. According to Judi‘s
narration, Jewish families of Germany, Austria and Czechoslovakia were sensing
imminent changes. Lory, Kurt and Eva belonged to Germany, Austria and
Czechoslovakia respectively. The three survivors share their memories of fantastic,
carefree, prosperous, and blissful childhood with their families in their respective
countries. In a total of twenty eight dialogues, two are in voice of authority and
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twenty six are in talking heads mode. Non-diegetic sound is used for one minute and
forty seconds.
‗Life Under Hitler‘ is the title of chapter three that lasts three minutes and four
seconds. The main participants include Ursula Rosenfeld, Lorraine Allard, and Jack
Hellman. All the three belonged to Germany. The main discourse of the chapter is to
highlight ‗Kristallnacht.‘ The literal meaning of Kristallnacht is ‗crystal night.‘ It was
an anti-Jewish program and a part of a broader racial policy of Hitler in Germany. It
resulted in making the lives of Jewish children isolated, threatening, and forbidding.
Ursula tells her childhood experience that how on her birthday party she was
ostracized by her friends. Lorraine‘s parents were also apprehensive about their status
due to Hitler. Jack tells that how the boys on street called him ‗Jew bastard‘ and
attacked him with a window‘s glass. He was afraid of going to school. The chapter
brings forth the fears and apprehensions of Jewish children during Nazi regime. In a
total of twenty two dialogues, two are in voice of authority mode while twenty are in
talking heads mode. Juxtaposing of talking heads and archive footage is supportive to
the discourse. Non-diegetic sound is used for thirty nine seconds.
‗Invasion of Austria‘ is the title of chapter four that lasts three minutes and
fourteen seconds. The main participants include Lore Segal, Kurt Fuchel, and Robert
Sugar. All the three belonged to Austria. Voice over tells that in March 1938, Hitler
extended Germany‘s power and annexed Austria. The annexation was followed by the
endorsement of anti-Jewish laws in Austria. Jew children were asked to report to the
school administration about their religion. There were Hitler‘s people on streets
everywhere. Jews in Austria felt threatened. The main discourse is to depict the
condition of Austrian Jews after Hitler‘s occupation. In a total of twenty seven
dialogues, four are in voice of authority while twenty three are in talking heads mode.
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Archive footage serves as a testimony to the voice over and juxtaposing of talking
heads is supportive to depict the repercussions of the invasion. Non-diegetic sound is
used for two minutes and twelve seconds.
‗Where to Flee‘ is the title of chapter five that lasts three minutes and twelve
seconds. The main participants include Robert Sugar, Lore Segal, and Eva Haymann.
The chapter focuses that Jews in Austria and Czechoslovakia started thinking to settle
somewhere else. Robert‘s mother planned to move to England. It was not easy to
move anywhere as the requirement for immigration included sponsorship from that
country, visa and exit permit from the Nazis. On the other hand Nazi troops extended
their control up to Sudetenland in Czechoslovakia. Jews were uncertain about the
plans and intentions of Nazis. They were in a fix whether they should leave or not.
Archive footage serves as a testimony to the voice of authority. In a total of thirty
dialogues, twenty seven are in talking heads while three are in voice of authority
mode. Juxtaposing of talking heads highlights the main discourse. Non-diegetic sound
is used for one minute and sixteen seconds.
‗Ninth of November‘ is the title of chapter six that lasts five minutes and
seventeen seconds. The main participants include Ursula, Lorraine Jack Hellman and
Hedy Epstein. In Czechoslovakia Nazis started their program and continued
Kristallnacht. Ursula says, ―November 9, 1938. I had had a strange dream in the night
that my father was being arrested.‖ The chapter is titled on that date. Since all the
participants belong to Germany, the chapter depicts conditions of Jews in Germany.
Ursula, Lorraine, Jack and Hedy share how they felt terrified on 9th November. It was
the last day when Ursula saw her father. Her father was beaten to death by Nazis to
instill terror and fear among other Jews. Nazi people raided the homes of Lorraine and
Hedy at night. In a total of forty three dialogues, forty are in talking heads while three
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are in voice of authority mode. Sequence of scenes, juxtaposing of talking heads and
archive footage support each other to project the main discourse. Non-diegetic sound
is used for three minutes and four seconds.
‗Birth of the Kindertransport‘ is the title of chapter seven that lasts three
minutes and thirty three seconds. The main participants are Norbert Wollheim and
Nicholas Winton. Nicholas was rescue organizer in London and Norbert was
Kindertransport organizer in Berlin. Anglo-Jewish leaders met with Prime Minister
Chamberlain and persuaded him to relax immigration rules for children. House of
Commons approved the plan and kinder transport started. The condition of
immigration was to submit fifty pounds against each immigrant. Nicholas started
looking for families who can take up a child. However, in America people
disapproved the idea of allowing children immigration. One of the arguments was that
―Accepting children without their parents was contrary to the laws of God.‖ In a total
of twenty eight dialogues, eleven are in voice of authority and seventeen in talking
heads mode. Archive footage serves as a testimony to the voice over. Juxtaposing of
talking heads and sequence of the scenes is supportive to the main discourse. Non-
diegetic sound is used for one minute and eleven seconds.
‗The Kinder‘ is the title of chapter eight that lasts six minutes and fourteen
seconds. The main participants include Lore Segal, Franzi Groszmann, Alexander
Gordon, Ursula, Eva, Jack, Lorraine, Hedy and Bertha Liverton. The survivors recall
their childhood memories of their transportation. Lore Segal tells how his father
decided to send him England alone. Alexander tells that his father died when he was
three years old and his mother was deported to Poland from Germany. He decided to
go to England through Kindertransport. The kinder transport was for orphans or
children with some problems. Eva, Jack Lorraine, Hedy and Bertha were going
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through Kindertransport. They were very optimistic about their future in England. The
chapter depicts Kindertransport feelings and memories of the participants. All the
sixty two dialogues are in talking heads mode and their juxtaposing is supportive to
each other. Non-diegetic sound is used for one minute and thirty five seconds.
‗Preparing to Leave‘ is the title of chapter nine that lasts three minutes and two
seconds. The participants are Lorraine Allard, Inge Sadan, Lore Segal, and Eva
Heyman. All were getting ready for the ‗kinder transport.‘ Since Nazi policy was anti-
Jewish, German Jews were facilitated for migration. However, limited money and
luggage was allowed. Parents were preparing children for the immigration. Eva
Heyman was baptized. She shares an interesting incident before leaving for England.
She says, ―I had a little cross and I had a little elephant and I had a sort of star. It was
not a Jewish star, but it was a little angel which I put them all together because I
thought the Almighty can choose which religion He would like me to belong to.‖ Eva
Heyman‘s dialogues depict how confounding and baffling religion was for the
immigrants. In a total of twenty one dialogues, two are in voice of authority and
nineteen are in talking heads mode. Archive footage reinforces the arguments of voice
over. Juxtaposing of survivors statements in talking heads mode is supportive to the
main discourse. Non-diegetic sound is used for thirty three seconds.
‗Last Goodbyes‘ is the title of chapter ten that lasts eight minutes and twenty
eight seconds. The participants include Lore, Bertha, Norbert, Inge, Alexander, Lory
Cahn, Ursula, Eva, Hedy, and Franzi. The feelings of parents departing from their
children at platform are the main discourse of this chapter. It was very difficult for
both parents and children as Lory‘s father pulled her out from the moving train. She
got hurt but her father was happy to have her back. Most of the parents knew that they
won‘t be able to see their children again. Juxtaposing of talking heads depicts how
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difficult it was for the parents to say goodbye to their children. In a total of eighty four
dialogues, three are in voice of authority and eighty one are in talking heads mode.
Non-diegetic sound is used for three minutes and fifty three seconds.
‗The Journey‘ is the title of chapter eleven that lasts five minutes and thirty
seven seconds. The chapter starts with a song that symbolizes children‘s loneliness.
They are far away from their parents but in their dreams they are very close to them.
The participants are Eva, Alexander, Ursula, and Lore Segal. They all share their
memories of travelling to England. Archive footage serves as an argument to endorse
the dialogues of the participants. In a total of forty seven dialogues, four are in voice
of authority and forty three are in talking heads mode. Non-diegetic sound is used for
three minutes and thirty eight seconds.
‗Arrival in England‘ is the title of chapter twelve that lasts seven minutes and
forty two seconds. The participants include Berth Leverton, Nicholas Winton, Lore
Segal, and Lorraine Allard. The chapter depicts the experiences of children placed in
foster homes or temporary centers in England. Some were adopted by foster parents
and some were waiting to be adopted. Rate of arrival in England was three hundred
children per week. The immigrant children were exposed to cultural, language, social
and psychological problems. In a total of seventy eight dialogues, seventy one appear
in talking heads and three in direct cinema mode while four are in voice of authority
mode. Archive footage adds a dramatic effect for voice over and juxtaposing of
talking heads supports the overall discourse of the chapter. Non-diegetic sound is used
for one minute.
‗Kurt and Mariam‘ is the title of chapter thirteen that lasts two minutes and
thirty nine seconds. The participants include Mariam Cohen and Kurt Fuchel. Mariam
was Kurt‘s foster mother. Both share their impressions and opinions about each other.
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In a meeting of Jewish and non-Jewish congregates, Mariam was asked to take up
children. There she decided to adopt Kurt. Kurt received good care and nurtured
nicely. All the twenty six dialogues are in talking heads mode, based on the
reflections of Maraim Cohen and Kurt Fuchel. Non-diegetic sound is absent.
‗Hostels and Manors‘ is the title of chapter fourteen that lasts three minutes
and two seconds. The participants include Robert Sugar, Jack Hellman, Ursula, and
Eva Heyman. Robert‘s mother was already in London working as maid. Since maids
were not allowed to have children, Robert was shifted to a hostel where he felt like an
orphan. Jack Hellman‘s experience of Waddesdon Manor was very exciting. He was
welcomed by the local boys as he says to her house mother, ―Some body who is not
Jewish wants to see me tomorrow.‖ He felt his recognition that made him glad. Ursula
shares her wonderful experience of school. The congenial environment at school
developed in her love for English literature. Eva Heyman leant English very quickly
and was comfortable in the new environment. She frequently wrote letters to her
parents that helped her to overcome the feeling of isolation. All the thirty five
dialogues are in talking heads mode depicting the experiences of migrated Jew
survivors. Non-diegetic sound is absent and juxtaposing of talking heads is supportive
to each other‘s arguments.
‗Dear Parents‘ is the title of chapter fifteen that lasts two minutes and forty
seconds. The entire chapter is constituted through letters written by the survivors and
their parents for each other. The contents of the letters show advice, care, love and
fond memories. For children, the letters from parents proved to be a source of love,
encouragement and hope for a bright future. The text of the letters appears on the
screen and altogether there are twenty seven dialogues in direct cinema mode. The
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text of the letters is emotional and matches with the title of the chapter. Non-diegetic
sound is used for one minute and forty four seconds.
‗On the Shoulders of Children‘ is the title of chapter sixteen that lasts eight
minutes and thirty one seconds. The participants include Lorraine, Jack, Berth, Inge
and Lore Segal. All the five participants share that after getting somewhat settled,
their main concern was how to bring in their parents. They tried their best to get visa
for their parents. The chapter depicts children‘s efforts in this regard. It also shows
that English people were not concerned about the religion of the survivors. All the
forty nine dialogues are in talking heads mode and juxtaposing reinforces the concern
of children for their parents. Non-diegetic sound is used for eight seconds for chapter
transition.
‗War‘ is the title of chapter seventeen that lasts two minutes and fifty seconds.
The participants include Lorraine and Eva. The chapter depicts conditions after
breaking WWII. Every hope of Lorraine and Eva for their parents‘ immigration
vanished. War also suspended the regular mail between the parents and their children.
The only communication was by limited words postcard through the International Red
Cross. In a total of twenty three dialogues, five are in voice of authority and eighteen
are in talking heads mode. Archive footage is serving as a testimony to the voice over.
Juxtaposing of talking heads is also supportive to depict the problems of Jews due to
WWII. Non-diegetic sound is used for fifty one seconds.
‗Somewhere to Belong‘ is the title of chapter eighteen that lasts five minutes
and twelve seconds. The participants include Lore Segal, Kurt Fuchel, Mariam
Cohen, and Robert Sugar. The chapter focuses on the human need of belongingness,
one of the basic human needs as described by Maslow. The English people, who had
adopted European children, were apprehensive for their own security due to the
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eruption of war. Children were also facing detachment with their foster parents. Their
communication with parents was over. Lore Segal explains the condition of children
as ‗bird with a broken wing‘ that flutters but fluttering is not good for the bird.
Children wanted to escape but it was not possible and good for them. In a total of
sixty dialogues, one is in voice of authority and fifty nine in talking heads mode.
Juxtaposing of talking heads highlights psychological aspects of Jews migration. Non-
diegetic sound is absent in the chapter.
‗The Dunera‘ is the title of chapter nineteen that lasts four minutes and twenty
nine seconds. Alexander is the only participant. The chapter is constituted through
voice over and archive footage. Dunera was a British passenger ship. In 1940,
refugees from Europe who were considered as a security threat or agent of Germany
were taken to Australia. The passengers were double than the capacity of the ship.
Alexander recalls his bitter experiences at Dunera. In a total of fifty five dialogues,
forty six are in talking heads mode. Three dialogues are in direct cinema mode while
six are in voice of authority. Juxtaposing of the modes support to project the problems
of Alexander and strengthen the main discourse. Non-diegetic sound is used for thirty
two seconds.
‗Deportation to the Camps‘ is the title of chapter twenty that lasts four minutes
and forty nine seconds. The participants include Norbort Wollheim, Lory Cahn, and
Hedy Epstein. The kinder transport organizer Norbort tells that by 1943 ‗the city of
Berlin was cleansed of the last Jews.‘ Norbort with his family was deported to
Auschwitz. Lory Cahn and her family were deported to Theresienstadt and from there
Lory was transferred to Auschwitz. Hedy‘s parents were also deported to various
unknown places. After a long communication gap, Hedy received a postcard from her
mother saying a final goodbye. The chapter depicts deportation of Jews to different
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concentration camps. In a total of forty one dialogues, thirty eight are in talking heads
mode while three are in voice of authority mode. Juxtaposing of talking heads
highlights the discourse of Jews‘ deportation to the concentration camps. Non-
diegetic sound is used for one minute and five seconds.
‗The Coventry Blitz‘ is the title of chapter twenty one that lasts two minutes
and forty four seconds. Coventry blitz was a series of bombing raids that took place in
the English city of Coventry. Inge Sadan and Armians are the participants of this
chapter. The chapter starts with scenes from London underground transport and
depicts the reactions and experiences of children staying at Coventry‘s boarding
houses. All the thirteen dialogues are in talking heads mode. Sequencing of the scenes
highlights the effects of bombing raids on children. Non-diegetic sound is used for
one minute and thirteen seconds.
‗Work of Importance‘ is the title of chapter twenty two that lasts three minutes
and sixteen seconds. Alexander, Lorraine and Eva are the participants of this chapter.
The Dunera scandal in England changed the public opinion against internment. People
were sent back to join armed forces in England. So, Alexander and Lorraine decided
to join army and Eva joined nursing. The chapter depicts that refugees were given
some work of importance that made them feel confident and equal. In a total of thirty
one dialogues, two are in voice of authority and two are direct cinema mode. Twenty
seven dialogues are in talking heads mode. Juxtaposing of talking heads, sequence of
scenes, archive footage and non-diegetic sound facilitate each other to depict Jews
spirit of living valuable life. Non-diegetic sound is used for nineteen seconds.
‗Family Reunion‘ is the title of chapter twenty three that lasts two minutes and
thirty nine seconds. The participants are Inge Sadan and Berth Leverton. The chapter
depicts the reunion of Inge, Bertha, their parents and brother after a period of five
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years. Time brought changes in children and parents both. Inge could no more speak
German. It was Bertha only who could communicate with the parents in German
language. All the twenty eight dialogues are in talking heads mode. Sequence of
scenes and juxtaposing of talking heads makes the chapter very touching and support
the main discourse. Non-diegetic sound is absent in the chapter.
‗War‘s End‘ is the title of chapter twenty four that lasts three minutes and
forty seconds. Lorraine, Ursula and Eva are the participants of this chapter. The
chapter starts with an announcement of ending WWII. In May 1945, after the end of
the war Lorraines, Ursula and Eva tried to trace their parents. Lorraine wrote letters to
her mother and father but they were deported to Auschwitz. Ursula, in response to the
letter to her mother, came to know that she was killed in Russia. Eva also got
telegraph about the serious illness of her parents. The chapter depicts how the ending
of war brought bad news in the lives of deported children. In a total of thirty
dialogues, two are in direct cinema and twenty eight are in talking heads mode. Non-
diegetic sound is used for twenty four seconds.
‗Survival is an Accident‘ is the title of chapter twenty five that lasts two
minutes and fifty eight seconds. Lory Cahn, Norbert Wollheim and Hedy Epstein are
the participants. The chapter depicts the feelings of participants who consider their
survival as an accident. Norbert was the only one who survived among all who were
deported to Auschwitz. Lory‘s health conditions were deplorable as she weighed fifty
eight pounds only at the age of twenty. She was deported to eight different
concentration camps. Her survival seems to be an accident. Hedy went back to
Germany to find her parents but could not. All the twenty two dialogues are in talking
heads mode and highlight the tragedy of Jew survivors. Juxtaposing of talking heads
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supports the main discourse. Non-diegetic sound is used for one minute and seven
seconds.
‗Another Set of Parents‘ is the title of chapter twenty six that lasts three
minutes and thirty five seconds. Mariam Cohen and Kurt Fuchel are the participants.
The chapter starts with a voice over stating about the survival and reunion of some
parents with their children. Kurt with his foster parents meets his real parents in Paris.
He was seven years old when he departed and met his parent after nine years, in the
age of sixteen. The chapter depicts emotions of parents and children. Juxtaposing of
talking heads helps to project the feelings of parents and children. In a total of thirty
one dialogues, thirty are in talking heads and one is in voice of authority mode. Non-
diegetic sound is used for forty eight seconds.
‗Living With the Past‘ is the title of chapter twenty seven that lasts five
minutes and twenty six seconds. Jew survivors of the kinder transport are the
participants including Eva, Lorraine, Inge, Lore, Robert, Hedy and Alexander. The
participants read their present from their past perspective and experiences. Alexander
shares about his overall experience of kinder transport. He says, ―I was meant to
survive, not because of myself but because the Jews were to survive.‖ He thinks that
his extended family was the purpose of his survival. Lore Segal views her varied
experiences as a gift that made her writer. People and parliament of United Kingdom
are offered deep gratitude in the text on screen. During 1938-39, England saved
10,000 children from Nazi persecution who fled to England. In a total of forty seven
dialogues, one is in voice of authority and forty six dialogues are in talking heads
mode. Juxtaposing of talking heads helps to portray the perspectives of Jew kinder
transport survivors. Non-diegetic sound is absent that is adding to the gravity of the
chapter.
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‗Coda and End Credits‘ is the title of chapter twenty eight that lasts six minutes and
two seconds. The text on screen tells that 1,500,000 children perished in the
Holocaust. It also shares about the production of the film. United States Holocaust
Memorial Museum Washington, D.C. extended cooperation to produce the film.
Three sentences appear on screen followed by the credits.
Mark Jonathan Harris is the director of this film. The film is heavily
constituted through talking heads. Archive footage, chapter titles, juxtaposing and
sequencing of the scenes facilitate the filmmaker to portray the problems of Jew
children during Hitler‘s regime. Film‘s main argument is to develop sympathies of
audience for Jews. Practicing and non-practicing Jews with a positive image are
projected. Archive footage serves as inter-textuality and promotes the filmmakers‘
argument. The other films on the similar discourses depicting miseries of Jews during
WWII have got Oscar nominations. ‗The Long Way Home‘ and ‗The Last Days‘ are
the documentaries on similar discourse that have won Oscar in the year 1997 and
1998 respectively. The following graph shows filmmaker‘s interference level in this
film.
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Figure 6.16 Interference level of the filmmaker in the film ‗Into the Arms of
Strangers: Stories of Kindertransport‘
minutes. The film has won six awards including Oscar and four nominations. The
other five awards are; Audience Award in Terezin Fort Film Festival, Crystal Heart
Award in Heartland Film Festival, Evening Standard British Film Award for Best
Documentary, Video Premiere Award in DVD Exclusive Awards and Eddie Award
by American Cinema Editors.

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6.2.1.10 Qualitative Analysis of „One Day in September‟
‗One Day in September‘ is an Oscar-winning documentary directed by Kevin
Macdonald and produced by Arthur Cohn and John Battsek. The documentary is a
narration of hostage event during the Munich Olympic Games of 1972. On 5th
September 1972, a small group of Palestinian guerillas ‗Black September‘ held eleven
Israeli athletes and coaches hostage in the Olympic village. They were demanding
Israeli government to release two hundred Palestinian prisoners. The film is in talking
heads mode and recorded footage of the event. Story is told by Michael Douglas,
Jamal Al Gashy and Ankie Spitzer. Ankie Spitzer, is the Dutch widow of one of the
murdered Israelis, fencing coach Arnie Spitzer. Amal Al Gashey is the sole surviving
Palestinian guerilla as the others were either killed at the airport in Munich, or have
died at the hands of the Israeli Mossad in the years since. The film proposes that
International Olympic Committee and German officials handled the case abruptly.
The DVD version of the film comprises of twenty eight chapters. The film has won
two other awards including British Independent Film Award, and Golden Camera
Germany Award. It has received three nominations; European Film Awards,
International Documentary Association, Online Film Critics Society Award, and
Satellite Awards.
Chapter one is titled as ‗Start‘ and lasts two minutes and twenty six seconds.
The chapter is constituted through voice of authority and talking heads. Paul Mandel
in talking heads is juxtaposed to recorded footage. Munich is introduced as a kind of
German paradise. Olympics of 1972 were held in that most beautiful and peaceful
city. According to Mandel nobody could foresee the mishap. Andre Spitzer was a
Jew. Keeping in view the history of Germany regarding Jews, Spitzer should be
provided with extra security measures. In a total of twenty two dialogues, seven are in
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voice of authority mode and fifteen in talking heads. Archive footage serves as
testimony to Mandel‘s dialogues. Non-diegetic sound is used for one minute and
thirty four seconds.
Chapter two is titled as ‗Ankie Spitzer‘ lasts one minute and twenty six
seconds. The chapter introduces Ankie Spitzer, wife of Andre Spitzer. They could live
together for fifteen months as Andre Spitzer was murdered during Olympics. Ankie is
the only participant of this chapter. She shares her reflections about Spitzer. Spitzer
was a peace loving person and very friendly to everyone. He belonged to Israel.
However, Spitzer used to speak Dutch so Ankie took him as Eastern European. The
chapter depicts Spitzer‘s character through his wife‘s recollections. All the eight
dialogues are in talking heads mode. Non-diegetic sound is used for forty eight
seconds.
‗Jamal Al Gashey‘ is the title of chapter three that lasts four minutes. The
chapter is named after Jamal, the surviving terrorist of Munich Olympics. Jamal and
Ankie are the participants of this chapter. Jamal shares his family background. His
family was originally Palestinian, obliged to live in camps as refugees due to Zionists
and ultimately settled at the Chatila camp in Beirut. Jamal joined Palestinian
liberation movement in 1967 and devoted his life for the Palestinian cause. He
received training from Lebanon and then for special training moved to Libya. Ankie
and Spitzer have been living at the northern border between Lebanon and Israel.
There, Spitzer used to play and train the sport of fencing. Talking heads of Jamal and
Ankie portray the perspectives of both sides. All the twenty four dialogues are in
talking heads mode. Non-diegetic sound is used for two minutes and forty three
seconds.
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‗1972 Israeli Olympic Squad‘ is the title of chapter four that lasts three minutes and
thirty forty seconds. The main participants include Ankie and Gerald Seymour.
According to Ankie, Spitzer was very excited to be the part of Munich Olympics.
When Israeli team marched under the flag of Star of David, it was very emotional
moment for Spitzer. In 1936, Olympics were held in Berlin, Germany. Nazis used
those Olympics for propaganda purposes. It was a golden opportunity for Germany to
show the world its new democratic face. Gerald Seymour, an ITN news reporter, two
thousand unarmed security officers were appointed for Olympic site in specially
designed outfits. Police was deliberately banned to project the new non-militaristic
image of Germany. The chapter helps to understand the security lapses. All the twelve
dialogues are in talking heads mode. Religion and politics intertwine in symbolic
forms as the flag of Israeli team with Star of David serves as their religious identity as
well. Non diegetic sound is used for three minutes and twelve seconds.
‗Jacov Springer‘ is the title of chapter five that lasts ten minutes and five
seconds. The participants include Jacov Springer (Israeli weightlifting coach), Alex
Springer, Jamal, and Ankie. Jacov‘s father had participated five times in the Olympic
Games. His father was a Polish Jew but originally from Germany. During the WW II,
his father moved to Russia and survived. All the family members who stayed in
Poland were killed. He participated in Olympics because he wanted to show them,
―Here I am, coming back to the Olympic Games and you could not really destroy
me.‖ One of the first concentration camps, Dachau, was chosen as the site for
Olympic memorial service and the Israeli team along with competitors went there.
Jamal share the details of the operation. He traveled from Libya to Germany two days
before the operation and there he met other members of the operation. Ankie shares
how Spitzer went to the Lebanese team for a goodwill gesture. Israel was in the state
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of war with Lebanon but he believed in the spirit of Olympics. Ankie tells that when
he returned, he said, ―You see, this is what I was dreaming about.‖ Juxtaposing of
talking heads and archive footage facilitate to portray the characters of Jacov and
Spitzer as a peace loving guys while Jamal is depicted as very ambitious person who
feels proud to confront with Israelis. In a total of sixty one dialogues, thirteen are in
voice of authority mode and forty eight are in talking heads mode. Non-diegetic sound
is used for eight minutes and thirty two seconds.
‗September 5th, 4:42 a.m.‘ is the title of chapter six that lasts one minute and
twenty two seconds. The chapter is constituted through Jamal who shares how they
entered into the Olympic village and then entered in the apartment of coaches. Moshe
Weinberger, the wrestling coach was attacked and wounded. Jamal‘s duty was to
guard the outside of the building during the operation. All the seventeen dialogues are
in talking heads mode. Non-diegetic sound is used for fifty eight seconds.
‗Gad Zabari‘ is the title of chapter seven that lasts two minutes and thirty
seconds. The participants include Gad Zabari, Jamal and Shmuel Lalkin. Zabari and
Lalkin are Jews. The chapter depicts how Gad Zabari and his five roommates were
held by the terrorists. Gad Zabari and Weinberger desperately try to get free but
Weinberger is killed. Jamal tells that they were not allowed to kill anyone unless no
other option left. In a total of twenty three dialogues, eight are in voice of authority
and fifteen are in talking heads mode. Non-diegetic sound is used for thirty eight
seconds.
‗The Olympics of Terror‘ is the title of chapter eight that lasts two minutes and
seventeen seconds. Dan Shilon, Shmuel Lalkin and Ankie are the main participants of
this chapter. The chapter starts with TV clippings of ABC channel. Jim McKay, the
anchor person, is directly talking from Munich saying that Olympics of serenity have
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become the Olympics of terror. Dan Shimon from Israeli television breaks the news of
Weinberger‘s murder. He says that the body was smashed and was ‗carried out after
one hour into an ambulance.‘ Lalkin who is the head of Israeli team, says that radio
was relaying the news of boxing coach murdered. There was no boxing coach in the
team. The chapter shows how media was panicked and created fear by its lexical
choices and wrong information. In a total of nineteen dialogues, seven are in direct
cinema and twelve in talking heads mode. Juxtaposing of talking heads with archive
footage projects the role of media and supports the main discourse of the chapter.
Non-diegetic sound is used for two minutes and ten seconds.
‗Manfred Schreiber‘ is the title of the shortest chapter that in twenty nine
seconds. The chapter is titled after the name of Schreiber, Munich Police chief, the
only participant of this chapter. The chapter explains the interaction between Munich
police and terrorists‘ spokesman Issa. According to Schreiber, Issa was a very
confident and fanatical in his convictions. The chapter focuses on the adherence of
terrorists to their goal. All the four dialogues are in talking heads mode based on
Schreiber‘s impression about Issa. Non-diegetic sound is used for seventeen seconds.
‗The Communiqué‘ is the title of chapter ten that lasts one minute and fifty
one seconds. The main participants include Walter Troger, Gerald Seymour and
Ankie. The chapter brings forth the demands of terrorists, dealings of the Mayor and
coverage of the media. Police received a communiqué in which terrorists demanded to
hand over two hundred prisoners by noon otherwise kill all the hostages. Walter
Troger, mayor of Olympic Village says that he was extremely concerned over the
incident. Terrorists‘ leader was holding hand grenade during the negotiations. Voice
over shares with the audience the murder of second hostage. Media was not able to
access the incident and terrorists denied to identify the killed. In a total of eighteen
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dialogues, eleven are in voice of authority and seven are in talking heads mode. Non-
diegetic sound is used for forty six seconds. During the WWII, Jews had very bitter
experiences in Germany. Munich Olympics, taken in that perspective by Jews, can
exacerbate the situation. Juxtaposing of talking heads, voice of authority and archive
footage supports to depict grave situation of Munich.
‗The Hostages‘ is the title of chapter eleven that lasts one minute and seven
seconds. Dan Shilon, Golda Meir, and Olympic footage constitute the chapter. The
then prime minister of Israel, Golda Meir considers it the worst kind of blackmail and
suggests not acceding to terrorists demands. Olympic footage depicts the performance
of the hostage sportspersons in the Olympics along with some other officials. The
chapter provides a brief description of hostages and the reaction of Israeli
government. Sequence of modes and archive footage with voice of authority serves as
a testimony to the hostages‘ depiction. In a total of fourteen dialogues, eleven are in
direct cinema and three are in voice of authority mode. Non-diegetic sound is used for
forty four seconds.
‗General Ulrich K. Wegener‘ is the title of chapter twelve that lasts two
minutes and thirty three seconds. The chapter depicts Ulrich Wegener‘s role in the
Munich Olympics incident. The participants include Ulrich K. Wegener, Gerald
Seymour, Dan Shilon, Golda Meir and Peter Jennings. Ulrich Wegner was the aide-
de-camp to Minister Genscher. Bruno Merk, the interior minister and Genscher the
federal minister decided to visit the Olympic Village. Ulrich tried to make terrorists‘
leader understand that Jews do not have a good history in Germany. That is why it is
difficult for the German officials to negotiate for the hostages. Terrorists were very
particular about their demand of releasing two hundred prisoners. Peter Jennings, the
reporter of ITN tries to give live coverage of the event. According Peter terrorists
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belong to Black September, a terrorist organization. The chapter depicts government
officials taking media as an authority and depending on it for the latest information. In
a total twenty three dialogues, nine are in direct cinema and fourteen are in talking
heads mode. Juxtaposing of talking heads highlights how the concerned authorities
mishandle the situation. Non-diegetic sound is used for two minutes and seven
seconds.
‗Magdi Gohary‘ is the title of chapter thirteen that lasts three minutes and
thirty eight seconds. The chapter is named after Gohary, an advisor to Arab League.
The main participants include Peter Jennings, Dan Shilon, Walter Troger and Ankie.
The chapter brings forth the analyses of Troger, Jennings and Dan Shilon regarding
the situation. According to Jennings, ―Israelis would rather have let their whole
athletic team be killed than let this happen.‖ He analyzes the situation from political
view point and maintains that the possibility of demands being met is 0.1 %. Wegener
talks about the miscalculations of government about the terrorists. Terrorists declared
to shot one Israeli every hour if their demands remain unmet. The chapter ends on the
news of second hostage killing. All the twenty two dialogues are in talking heads
mode. Sequence of the scenes and juxtaposing of talking heads depict that the
negotiators botched the whole situation. Since Magdi Gohary was serving as a
member of the negotiating team, he is portrayed as responsible of the mishandling.
Non-diegetic sound is used for two minutes and thirty three seconds.
‗The Second Victim‘ is the title of chapter fourteen that lasts three minutes
and fifty one seconds. The second victim of terrorists is Josef Romano, middleweight
weight lifter. The main participants include Ilana Romano, Schlomit Romano, Dan
Shilon and Walter Troger. Troger shows confidence in Issa, the terrorists‘ negotiator,
but apprehensive about his partners. The chapter starts with the agony of Ilana and
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Schlomit respectively wife and daughter of Josef Romano. Jews were feeling
themselves insecure in Germany. Spitz, a Jew and American swimming star, quit the
Olympics instantaneously and left for America. International Olympic Committee, in
spite of tremendous pressure did not halt the games. Olympic goal to promote peace
and brotherhood was shattered. In a total thirty two dialogues, five are in direct
cinema and twenty seven are in talking heads mode. Juxtaposing of talking heads and
archive footage supports to depict the second victim of terrorists. Non-diegetic sound
is used for two minutes.
‗Wrong and Selfish‘ is the title of chapter fifteen that lasts four minutes and
forty five seconds. The participants include Dan Shilon, Peter Jennings and Jamal.
Archive footage is integrated in the chapter as a testimony. The chapter depicts the
decision of International Olympic Committee as wrong and selfish. Hostage site and
sports scenes are juxtaposed and serve as a testimony to the argument. Voice over
explains the Olympic Village activities. Jamal and other members are snubbed by the
terrorist leader on getting frank with the hostages. In a total of nineteen dialogues,
seventeen are in talking heads and two in direct cinema mode. Non-diegetic sound is
used for three minutes and twenty one seconds.
‗German Initiative‘ is the title of chapter sixteen that lasts four minutes and
fifty seven seconds. The participants include Ulritch Wegener, Zvi Zamir, Walter
Troger, Peter Jennings and Dan Shilon. The German government decided to place
large boxes of food for the hostages before the building and provided chefs. The
officials thought that terrorists from the building will definitely approach food and
they would be able to get some clue. The plan failed. German chancellor denied
Israeli prime minister to send a team from Israeli. Zvi Zamir, chief of Mossad (1968-
74), comments that German officials were quite confident to handle the situation. Zvi
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Zamir arrived in Munich. International Olympic committee decided to suspend the
games and arranged a memorial service in the Olympic stadium for the two dead
sportsmen. The chapter focuses various actions taken by German government by
juxtaposing talking heads and voice over. In a total of thirty two dialogues, six are in
voice of authority and twenty six are in talking heads mode. Non-diegetic sound is
supportive to the discourse and used for three minutes.
‗The Last Time I Saw Him‘ is the title of chapter seventeen that lasts one
minute and three seconds. The participants include Ankie and Walter Troger. Ankie
shares about the last time she saw Andre. Andre was going to tell something about
one of the hostages when ‗he got hit with the butt of the rifle of one of the Palestinians
and pushed away.‘ Police was denied to have a direct meeting with the terrorists.
However, Interior Minister Hans Deitrich Genscher and Mayor of Olympic Village
Walter Troger got permission and went there. The chapter‘s main focus is Ankie‘s last
memories with Andre. It also serves as a link to depict the latest situation of hostages
at that time. All the thirteen dialogues are in talking heads mode without non-diegetic
sound.
‗A Terrible Impression‘ is the title of chapter eighteen that lasts one minute
and six seconds. The participants of the chapter are Troger and Ahlers. The chapter
highlights the impression of hostages. According to Troger and Ahlers who visit the
place, the hostages were completely disappointed and depressed. All the six dialogues
are in talking heads mode with non-diegetic sound used for forty six seconds.
‗Volunteer Squad‘ is the title of chapter nineteen that lasts six minutes. The
participants are Hans Jochen Vogel, Zvi Zamir, Gerald Seymour, Dan Shilon and
Jamal. The chapter focuses on the formation of rescue squad and their coverage by the
media. The chapter starts with the television news about Wilf Brimsley‘s report
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circulated by Associated Press. According to the report, ―a volunteer squad of
policemen dressed as athletes, would storm the Israeli Olympic team headquarters.‖
Gerald Seymour‘s coverage confirms the news. According to Zvi Zamir the
volunteers in the squad were untrained people. Media was giving live coverage of the
rescue squad. Later on it was discovered that terrorists were also watching the live
coverage. The police called off the plan when they came to know about the broadcast.
Jamal shares the terrorists plan in case of dead line is over and their demands remain
unfulfilled. The terrorists‘ plan was to take the hostages to any Arab country in an
airplane. In a total of thirty six dialogues, five are in voice of authority mode and
fifteen are in talking heads mode while sixteen are in direct cinema. Archive footage
serves as a testimony. Juxtaposing of voice of authority to talking heads supports the
arguments. Non-diegetic sound is used for five minutes and twenty seconds.
‗A New Demand‘ is the title of chapter twenty that lasts one minute and
twenty seconds. The main participants include Gerald Seymour. The new demand of
terrorists was the provision of a long-distance jet to fly. Hans Jochen Vogel, and Zvi
Zamir. Chapter starts with the voice over describing terrorists as Palestinians. Mayor
of Munich Olympics, Hans Jochen Vogel explains government perspective. German
government did not want the hostages fly anywhere. While Olympic organizers
wanted to resume the games as soon as possible and rescue of hostages was secondary
to them. The chapter depicts situation after the new demand is put forward by
terrorists. In a total of ten dialogues, two are in voice of authority and eight are in
talking heads mode supported by archive footage. Non-diegetic sound is used for fifty
one seconds.
‗The Police Plan‘ is the title of chapter twenty one that lasts four minutes. The
main participants include Hans Jochen Vogel, Conrsd Ahlers, Peter Jennings, Jamal
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and Walter Troger. The police plan was to attack the terrorists during their move to
the helicopter. The terrorists decided to approach helicopter by foot but later on they
changed their decision as they were apprehensive about their protection. In a total of
twenty five dialogues, ten are in voice of authority and fifteen are in talking heads
mode. Non-diegetic sound is used for two minutes and thirty nine seconds.
‗Bus to Helicopter Transfer‘ is the title of chapter twenty two that lasts two
minutes and thirty four seconds. Gerald Seymour, Gad Peter Jennings and Zvi Zamir
are the main participants. The chapter focuses on how the hostages were transferred to
the helicopter. During this process, it was revealed for the first time that there were
eight terrorists. Robert Thompson, the Canadian water polo player saw the hostages
being transferred to the helicopter. Peter says that all of them were tied. In a total of
nineteen dialogues, one is in voice of authority mode and eighteen are in talking
heads. Archive footage serves as a testimony to the talking heads. Non-diegetic sound
is used for two minutes and three seconds.
‗Esther Roth‘ is the title of chapter twenty three that lasts three minutes and
twenty four seconds. The main participants include Peter Jennings, Don Shilon and
Jamal. Esther Roth is one of the survivors. Peter Jennings describes the latest situation
during that flight. According to Jamal, they were sensing some danger. They were
ready to face any ambush. The chapter‘s main focus is to depict Esther Roth‘s
reflections. In a total of sixteen dialogues, twelve are in talking heads and four in
direct cinema mode. Archive footage is supportive to the talking heads and serves as a
testimony to the arguments. Non-diegetic sound is used for two minutes and forty two
seconds.
‗We Voted to Abandon‘ is the title of chapter twenty four that lasts one minute
and thirty six seconds. The main participants include Zvi Zamir, Ulritch, Jamal, Dan
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Shilon. and Conrsd Ahlers. The focus of the chapter is to depict the reasons why
police squad decided to abandon the mission. There were untrained people in the
squad. The other reason was that the five marksmen on the roof and ground of control
tower were not having radio links with anybody. They were not updated about the
number of terrorists. According to Deitrich, ―It was quite simply a suicide mission
and we unanimously voted to abandon it.‖ The chapter ends on how terrorists
discover that their Palestinian companions are missing in the plane. In a total of
eighteen dialogues, two are in voice of authority and sixteen are in talking heads
mode. Non-diegetic sound is neutral and used for one minute and thirty three seconds.
‗All Hell Breaks Loose‘ is the title of chapter twenty five that lasts five
minutes. The main participants include Jamal, Hans Jochen Vogel, Gerald Seymour,
Zvi Zamir, Dan Shilon, and Ulritch Wegener. Chapter title represents the bloody
ambush in utter confusion. Absence of communication among snipers, police squad
and other members of the team created complete chaos and confusion. As Dan Shilon
says, ―I doubt whether the snipers were really snipers.‖ Under such conditions sniper
five and pilot were taken to be terrorists hence attacked by police and seriously
wounded. All the fifty two dialogues are in talking heads endorsed by archive footage.
Non-diegetic sound is neutral and used for four minutes and thirty three seconds.
‗Too Optimistic‘ is the title of chapter twenty six that lasts one minute and
forty eight seconds. Ankie, Walter Troger, Dan Shilon and Conrsd Ahlers are the
main participants. Ahlers, the German Government spokesman announced that all the
hostages are safe and all the terrorists killed. Later on, the information is denied.
Ankie is depicted to be very nervous and restless about her husband Andre. There
seems to be disinformation rather mis-information. All the sixteen dialogues are in
talking heads mode and non-diegetic sound is used for eleven seconds only.
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‗Very Bad News‘ is the title of chapter twenty seven that lasts five minutes and fifty
four seconds. Ulritch Wegener, Gerald Seymour, Don Shilon and Hans Jochen Vogel
are the main participants of this chapter. The chapter focuses to give information of
the death of eleven hostages. Two were killed in their rooms and nine at the airport.
Ulritch Wegener shares the incompetence of police officers to handle the situation.
Police was not taking action by its own rather waiting for the orders. Juxtaposing of
talking heads and archive footage serves as testimony to the arguments. All the
nineteen dialogues are in talking heads mode. Non-diegetic sound is used for five
minutes and thirty one seconds.
‗Aftermath‘ is the title of the last chapter that lasts seven minutes. Voice over
shares the end of hostage incident. The three surviving terrorists; Mohammad Safady,
Adnan Al Gashey, and Jamal Al Gashey were not put under trial. Five dead
Palestinians were handed over to Libya. A Lufthansa plane was hijacked after a few
weeks and the hijackers demanded the release of three Munich terrorists. One
Palestinian involved in the hijacking revealed that it was all organized by German
government to avoid future attacks. According to terrorists of Munich Olympics their
activity helped them to register Palestine throughout the world. Jamal says, ―I am
proud of what I did at Munich because it helped the Palestinian cause enormously.
Before Munich, the world had no idea about our struggle…‖ Politics and religion are
intertwined as Palestinians and Israelis both are suffering. Text on the screen share
that a specialist anti-terrorist squad was formulated by German government that killed
two terrorist survivors along with dozen others they suspected of planning the attack.
Jamal is the only terrorist survived. Somewhere in Africa he is hiding with his wife
and two daughters. For the first time he spoke about Munich in this documentary. In a
total of forty five dialogues, twenty six are in talking heads and nineteen are in voice
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of authority mode. Non-diegetic sound is used for five minutes and twenty four
seconds.
The film‘s main discourse is to highlight Munich Olympics incident.
However, the incident happens in the context of Palestine and Israel‘s political
problems. Religion seems to be the base line of this incident. As the terrorists claim
that they get the Palestine registered throughout the world.
Kevin McDonald is the director of this film. The film depicts Jews hostage
incident happened during Munich Olympic 1972. The film is framed as an extension
of Jews miseries in Germany. The filmmaker has approached the incident from
different angles therefore; three modes are used to portray it. Archive footage is
serving as inter-textuality that reflects filmmakers‘ argument. Chapter titles are
reflecting the main discourse. Following graph shows the interference level of the
filmmaker.
Figure 6.17 Interference level of the filmmaker in the film ‗One Day in September‘
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minutes. The film has won Oscar. The other awards include British Independent Film
Awards, Golden Camera Awards. The film was nominated in European film Awards,
International Documentary Association Awards, Online Film Critics Society Awards,
and Golden Satellite Awards.

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6.2.1.11 Qualitative Analysis of „The Last Days‟
The film ‗The Last Days‘ won 1998 Academy Award for the category ‗Best
Documentary Feature Film‘. The film tells personal experiences of five Hungarian
Holocaust survivors who are living in United States; Irene (a grandmother), Renee (a
teacher), Bill (a businessman), Alice (an artist), and Tom (a US Congressman). The
documentary approaches the realities of Holocaust through the experiences,
observations and feelings of these five survivors. A historical footage of the
concentration camps and an interview with Dr. Hans Munch, a former Nazi doctor
who had worked at Auschwitz during World War II are included in the documentary
film. As the Holocaust survivors return from the United States to their home towns
and to the ghettos and concentration camps in which they were imprisoned, they share
their past experiences as victims to Hitler‘s brutal war against the Jews during World
War II.
The first chapter is titled as ‗Before the War‘ and lasts four minutes and six
seconds. Participants of the first chapter include Bill Basch, Irene Zisblatt, Renee
Firestone, Alice Lok Cahana, and Tom Lantos who share their experiences before the
World War II. The first scene depicts the hatred of Nazis for Jews through the
survivors of holocaust. Bill Basch, one of the survivors of the Holocaust says that for
Nazis ―it was more important to them to kill the Jew than even winning the war‖. The
other survivor of the Holocaust, Irene Zisblatt is of the view that Jews and Christians
were living very peacefully before the World War II as she says, ―we had a church
and a synagogue‘. Her dialogue shows that before the World War II, there was much
tolerance for the followers of different religions. Tom Lantos asserts that patriotism,
unity and brotherhood were the evident salient features of the inhabitants at that time.
He says, ―The bulk of the Jews in Budapest were utterly assimilated, deeply patriotic
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and enormously proud of their Hungarian cultural heritage.‖ Renee Firestone
maintains that Jews and Christians were leading a happy life without being conscious
of the religion. She says, ―I had non-Jewish friends. I dated non-Jewish boys. My
parents had non-Jewish friends.‖ Her dialogues show that socialization across the
religion existed in Hungary. Alice Lok mentions that the basis of identity was
nationhood and not the religion. As she says in the first scene, ―We also felt quite
Hungarian at the same time not just Jewish. So, Judaism was our religion but we were
Hungarian.‖ The dialogues depict that before the World War II, congenial relations
existed among the followers of different religions. The total dialogues delivered are
thirty eight. Thirty four are by the Jews in talking heads mode. The statements
appearing as text are four that favor Judaism. Non-diegetic sound is used for three
minutes and sixteen seconds that supports the discourse of Jews and Christians
happily living together. Talking heads depict five holocaust survivors. Video clips
serve as testimonials for the talking heads mode arguments.
‗Hitler Invades Europe‘ is the title of chapter two that lasts five minutes and
thirteen seconds. The participants of the second chapter are all the five Hungarian
holocaust survivors along with Dr. Randolph Braham who is an historian and
holocaust survivor as well. Some newsreels are integrated into the scene as evidence
to the statements of holocaust survivors. In the second chapter Irene from her
childhood memoirs quotes a conversation between a man and her father, ―The Nazis
are taking our young Jewish infants and they are tearing them in half by their legs and
they are throwing them in the Dniester‖ The dialogue depicts the cruel and inhuman
mentality of the Nazis. One of the Holocaust survivor and historian, Dr. Randolph
says, ―There were two wars. There was a military war and hand-in-hand with that war
there was a second war, the war of the SS, directed against the Jews‖. SS stands for
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Schutzstaffel, a special police force in Nazi Germany founded as a personal
bodyguard for Adolf Hitler in 1925. Administration of concentration camps was the
duty of Schutzstaffel. According to Tom, ―The persecution of Jews became more and
more obvious. Jews were losing their jobs, their businesses. There was a Hungarian
Nazi movement, the Arrow Cross, and this became of course, the most hated and
feared group for Hungarian Jews‖. Glimpses of the World War II are provided
through Jewish participants. The scene depicts atrocities, hatred, revulsion and
detestation of Nazis towards Jews. The total dialogues in talking heads mode are
twenty four, making it the dominant mode. Five statements are made through news
reel, inserted in the beginning at three points to set context. Text appears on the screen
for two times to set the context and framing of talking heads. Non- diegetic sound is
used for five minutes and five seconds that is supportive to highlight Hitler‘s
atrocities. Video clips serve as testimonials to the talking heads.
‗Occupation of Hungary‘ is the title of chapter three that lasts three minutes
and forty five seconds. The participants include Tom, Alice, Irene and Renee who tell
that how they were differentiated from others for the purpose of persecution and
victimization. Renee says that Jews were not allowed to walk on the street without
wearing a yellow star so that Jews can be identified. Tom shares that he was caught
for not wearing yellow star. Juxtaposing of the participants‘ arguments is supportive
to one another. One statement appears on the screen to set the context of talking
heads. The total dialogues delivered are thirty four, all in talking heads mode. Non-
diegetic sound is used for two minutes and eight seconds that is supportive to the
main discourse. Video clips serve as testimonials to the talking heads.
Chapter four is titled as ‗Deportation‘ and lasts one minute and fifty one
seconds. The participants are Irene, Renee, Alice and Dr. Randolph. The chapter
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depicts that it was unbelievable for the Jews to be victimized for just being Jews.
Alice says, ―I could not imagine that they had just taken out people from their homes
because they are Jewish.‖ Hostility on religion‘s basis is evident from the dialogue of
Alice. Irene shares her memories, ―Our friends, so-called, and neighbors, they were
standing lined up alongside of the road and they were yelling, ‗it‘s about time, you
gonna out here and we don‘t need any Jews in our town. We need to get rid of all you
Jews.‘ And I stood and I could not believe my eyes. The people I went to school with,
their children, we were friends, we were sharing things together. Why are they so
hostile? Why do they hate us all of a sudden?‖ The scene depicts the confusion of
Jews to understand the reasons of Nazi‘s hostility. Non-diegetic sound is applied for
one minute and twenty eight seconds. All the nineteen dialogues are delivered by
Irene, Renee, Alice and Dr. Randolph in talking heads mode.
‗The Ghetto‘ is the title of chapter five that lasts two minutes and eleven
seconds. Alice, Renee, Irene and her daughter Robin constitute fifth chapter. The
participants share their bitter experiences of shifting to ghetto. Thousands of Jews
were kept in ghettos watched by guards and dogs. Irene shows her daughter Robin,
the site of ghetto where she was kept. Cattle cars were used for the transportation of
Jews. The scene shows the conditions that created panic and terror among Jews.
Filmmaker has treated the agony of subjects who experienced living at ghetto through
post production processes like sad music and light treatment. Sequencing of
participants dialogues support the smooth progression of the film. All the twenty six
dialogues are delivered by Alice, Renee, Robin, Irene and her daughter in talking
heads mode. Non-diegetic sound is used for one minute and fifteen seconds in total.
Video clips are supportive to the statements of participants.

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Chapter six is titled as ‗Protected Houses, Raoul Wallenberg‘ that lasts three minutes
and fifty six seconds. The participants are Dr. Randolph, Bill, Tom and his grand
daughter. The scene depicts that how Jews were victimized and threatened for being
Jews. According to Tom, ―You were a hunted animal, 24 hours everyday and you did
not know if anybody you encountered was really on your side.‖ Wallenberg arranged
houses for Jews under the protection of Royal Swedish government but even then
Jews were not safe as Tom says, ―Many people living in these ―protected houses‖
were rounded up, taken to the bank of the Danube and killed.‖ The scene depicted that
Jews were obliged to change their identity as Bill reported, ―as time started getting
worse, I really had to acquire gentile papers. I did not exist as a Jew. I would have
been shot. I would have been killed.‖ Swedish protective passports were issued to
Jews in Budapest that helped some Jews to get out of problem. Sequence of the scenes
depicts the miseries of Jews in a chronological way. Juxtaposing of different scenes
heighten the insecure and unsafe conditions of the Jews. Non-diegetic sound is used
for two minutes and forty three seconds that facilitates to project the tragedy of Jews.
All the thirty three dialogues are depicted through talking heads mode.
Chapter seven is titled as ‗Cattle Car‘ and lasts one minute and forty nine
seconds. The chapter depicts the traveling experience of Alice, Renee and Irene.
Cattle car was used for Jews transportation which was jam packed with one hundred
and twenty Jews in it. According to Alice Jews were ‗mashed together like sardines‘.
Irene says, ―They never opened the doors to go to bathroom. They never gave us any
water or any food. The children were screaming. They wanted to go home.‖ After a
five days traveling in a dark and congested cattle car, the Jews were moved to
Auschwitz. The chapter shows Nazi‘s ruthless ferocity and atrocities towards Jews.
Talking heads mode is used to constitute the chapter and non-diegetic sound is used
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for one minute and seven seconds that facilitates to dramatize the conditions. All the
twenty five dialogues are depicted through talking heads mode and delivered by Jews.
The eighth chapter is titled as ‗Auschwitz-Birkenau Death Camp‘ and lasts
two minutes and thirty eight seconds. The participants include Irene, Renee, Dr. Hans,
Alice and her son Michael. The scene focuses on the brutalities of Nazis on Jews in
Poland. Alice is with her son Michael at Auschwitz II, Birkenau, ‗Death Camp‘ in
Poland telling him the details how the Jews were kept in striped clothes with shaved
heads and watched by SS. Renee recounted that her mother was selected at the
railroad station. Renee‘s dialogue, ―My mother was taken straight from the railroad
station to the gas chambers‖ is deeply moving. The scene depicts killing of Jews in
gas chambers. Juxtaposing and sequencing reinforce the tragedy of Jews. All the
thirty six dialogues are delivered by Irene, Renee, Dr. Hans, Alice and Michael in
talking heads mode. One statement appears on the screen to set the context of talking
heads. Non-diegetic sound is used for one minute and thirteen seconds. Archive
footage supports the statements of the talking heads.
‗A Madman‘s Hell‘ is the title of chapter nine that lasts six minutes and thirty
five seconds. The participants include Irene, Renee and Alice who had narrated their
horrible experiences and gloomy memories. Irene recounted, ―I saw trucks coming
and screams on the trucks and I saw two children fall out of the truck. And the one SS
man came out from the front and he picked up the children like that and he banged
him against the truck and the blood came running down and threw him into the truck.
So, that‘s when I stopped talking to God.‖ According to Renee Jews were given
numbers on their flesh just like prisoners. Renee sees her father there in a group of
twenty people coming out of a camp, shaved headed, wearing uniform like prisoners.
It was very embarrassing and deeply moving for Renee. Archive footage is supportive
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to the talking heads and non-diegetic sound is applied for three minutes and sixteen
seconds. Talking heads mode is the only mode used to depict all the forty five
dialogues.
Chapter ten is titled as ‗Experiments‘ and lasts one minute and fifty one
seconds. Irene, Dr. Munch and Hans are the main participants. Dr. Munch explains
how Jews were being experimented. Many experiments were done in Auschwitz to
find ways to sterilize Jewish women, in order to diminish the race without going
through too much trouble. These women were then sent back to the camp.
―Sometimes they were immediately transferred because they were so-called ‗secret
bearers‘. They performed tests, then sent them back to Birkenau and gassed them.‖
The sequence of scenes heightens Nazi‘s cold blooded killings and experiments on the
Jews. Non-diegetic sound is applied for fifty two seconds to intensify the conditions.
All the nineteen dialogues are delivered by Irene and Dr. Munch through talking
heads mode.
‗Blind Hatred‘ is the title of chapter eleven that lasts four minutes and eleven
seconds. Alice, Irene, Renee, Tom, Dr. Hans Munch and Randolph are the
participants of this chapter. Reflections of Dr. Hans Munch and Randolph project
hatred and abhorrence of Nazis towards Jews. As Randolph says, ―Having survived
the first four and a half years of the war, the Hungarian Jews were killed in the last
chapter of Hitler‘s war against the Jews when the leaders of the world were already
fully aware of all the details of Auschwitz.‖ The dialogue depicts that people around
the world knew what was happening at Auschwitz but they were not extending any
kind of help to the Jews. He further focuses on the large scale killing of the Jews,
―Within less than six weeks, more than 438,000 Hungarian Jews were deported to
Auschwitz. The gas chambers, the crematoria could not cope. The SS had to dig
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special pits to burn the bodies using the Jews own fat as fuel. I saw how they were
throwing people into these fire pits.‖ Randolph‘s main point is to highlight Hitler‘s
‗Final Solution Program‘ that is to evacuate Germany and its adjacent areas from
Jews. Tom recollects, ―The sadism, the cruelty, the irrationality, of the German and
Hungarian Nazis, of killing the remaining Jewish population, when the war was all
over, when they could have gained brownie points by being more civilized with viz-a-
viz these people was really not present because their hatred was so blind.‖ Tom‘s
dialogue shows that Nazis‘ were extremely intolerant towards Jews. They wanted to
remove Jews from the face of the earth. Renee says, ―Hitler was losing the war. But
he was not going to lose the war against the Jews.‖ The statement shows that Hitler‘s
main objective was to kill Jews which he achieved. Dr. Munch says, ―The mass
graves were about 8x10or 10x10 meters wide.‖ The participants testify the argument
that Jews were killed in millions. The other testimonies are not explored e.g. graves
are not studied by the filmmaker. Juxtaposing of participants‘ arguments is supportive
to the main discourse. Archive footage is used to support the arguments of
participants. Non-diegetic sound is used for twenty six seconds that is supportive to
depict the tragedy of Jews. All the forty three dialogues are in talking heads mode.
‗A Prayer‘ is the title of chapter twelve that lasts two minutes and sixteen
seconds. The participants are Alice and Irene. The chapter focuses on how religion
helps to unify irrespective of the national identities. Alice explains the celebration of
‗Shabbat‘ and singing of Hebrew prayer at Auschwitz by Polish, German, Hungarian
and Czechoslovakian in a ‗latrine‘. The sequence of scenes shows that even in very
pathetic and deplorable conditions religion can serve as a strong bond among the
followers. Irene‘s dialogues depict that spiritual aspect of one‘s life is very important
and help to survive in bitter circumstances. As Irene says, ―I thought of my soul and I
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say, they are not going to take my soul and I decided right then and there, I am going
to get up from this mud and I am going to fight because I am not going to become
ashes.‖ The dialogue demonstrates human nature that when life is at risk and
threatened people usually become brave and willing to leave no stone unturned. Non-
diegetic sound is used for fifty three seconds that is supportive to the tragic conditions
of Jews depicted through the scenes. All the thirty dialogues are delivered by Jews in
talking heads mode. One statement appears on the screen to set the context of talking
heads.
Chapter thirteen is titled as ‗Sonderkommando‘ and lasts three minutes and
fourteen seconds. The participants include Renee, Randolph and Dario Gabbi, a Jew
worker in Auschwitz II. The scene depicts how Jews were reduced to ashes as Renee
said that at Auschwitz, thousands and thousands of people were cremated every day.
Randolph explains about the gas chambers used to burn Jews at Birkenau and Jews
inmates worked there as special ‗Sonderkommando‘ to remove the burnt bodies.
Dario Gabbi, says, ―I saw 2,500 people, all naked, go into the big chamber which
eventually they take only 500 people. They were putting in 2,500 people. So, nobody
could do anything but stand up with the children. And 15 minutes later, after they
close the chambers and the SS threw the gas from these four openings, they open up.
What did I see? I see the people, I saw 15 minutes ago. I see them all dead, standing
up with their children, black and blue.‖ The main focus of the chapter is to share how
Jews were massacred at Auschwitz. Non-diegetic sound supports and discourse and
lasts for two minutes and twenty three seconds. Juxtaposing of talking heads is
supportive to each other. The story is told by Jew participants. Other sources are not
approached and explored. Talking heads mode is used in all the thirty six dialogues.
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‗Death March‘ is the title of chapter fourteen that lasts two minutes and twenty four
seconds. Tom, Alice, Irene, Bill and Randolph constitute the chapter by sharing their
experiences of marching from Budapest to Dachau that was full of death fear. The
chapter starts from the clippings of Battle of Budapest, 1945. Tom explains that
Budapest was the battlefield between the German and the Soviet Army and the Jews
were hopeful to be liberated by the Soviet Army. Randolph says, ―Those who could
not keep pace were simply shot by the wayside.‖ The comments of Alice reinforce
Randolph‘s views as she says that anybody trying to run away or violating the rules
was shot on the spot. The chapter shows how death was hovering on the heads of the
Jews when they were moving to Dachau. The death march was in winter and those
who could not keep pace were simply shot by the wayside. It took ten days march to
reach Dachau. Juxtaposing of talking heads and use of archive footage are supportive
to the main discourse. One statement appears on the screen to set the context of
talking heads. Non-diegetic sound is used for forty six seconds. Talking heads mode
is applied in all the twenty dialogues.
Chapter fifteen is titled as ‗Dachau Concentration Camp‘ and lasts three
minutes and nine seconds. The participants are Bill and his son Martin. The chapter
starts with Bill and Martin who are at the site of Dachau concentration camp at
Germany. The presence of Bill at Dachau makes the arguments more strong and
visible. Bill is there after fifty three years. He recollects the cremating of Jews, ―The
inhumanity of man against man, it‘s beyond belief. This is the most monstrous thing
that man devised, burning human beings just to get rid of them quicker,
unbelievable.‖ Shooting at Dachau makes the scene more emotional and helps to
depict the carnage. All the twenty three dialogues are by Bill in talking heads mode.
One statement appears on the screen to set the context of talking heads. Medium and
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full shots are used to create personal and social relationships of the participants with
audience. Long shots are used to contextualize the dialogues. There is no non-diegetic
sound in this chapter.
‗The Liberators‘ is the title of chapter sixteen that lasts two minutes and fifty
three seconds. Renee, Irene, Warren Dunn, Katsugo Miho, Dr. Paul Parks, and Bill
are the participants of this chapter. United States is depicted as liberator through army
veterans of United States; Warren Dunn, Katsugo Miho, and Dr. Paul Parks. The
chapter depicts Renee as having no perceptions about Americans. Irene came to know
about Americans when US planes bombed at convoy and no Jew got hurt. American
soldiers were thinking of concentration camps as German military camps. According
to Warren Dunn, outside the camp there were forty boxcars full of Jews‘ dead bodies.
The dialogues of the participants show the horrible conditions at concentration camps,
people were like skeletons and starving to death. Americans did not kill Germans.
According to Bill, ―They let us have them and taking a dozen or so German soldiers
we caught literally tore them apart piece by piece.‖ The sequence of scenes shows the
aggression of Jews towards Germans and considering Americans as their liberators.
Juxtaposing of talking heads is supportive to the tragedy of Jews. All the thirty one
dialogues are in talking heads mode delivered by Renee, Irene, Warren Dunn,
Katsugo Miho, Dr. Paul Parks, and Bill. Non-diegetic sound is applied for ten seconds
only for smooth transition to the next chapter. Filmmaker provides the visual evidence
from archive footage according to the reported event.
Chapter seventeen is titled as ‗Cannot Forget‘ and lasts one minute and forty
six seconds. Miho is the only participant. The chapter consists of some footage and
three dialogues of Miho. Miho emphasizes the terrible and worst conditions of the
holocaust survivors by comparing it with Italy, France and Germany. He says, ―The
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worst I have ever seen in my life were the survivors of the Holocaust.‖ The video
clips of Dachau, Bergen-Belsen, Auschwitz, Buchenwald, Ohrdruf, Majdanek,
Nordhausen, and Mauthausen are inserted in the chapter as an argument to show the
pathetic conditions of holocaust survivors. One statement appears on the screen to set
the context of talking heads. All the three dialogues are delivered by Miho in talking
heads mode and non diegetic sound is applied for one minute and fifteen seconds.
Music amplifies the tragedy of Jews and archive footage serves as a testimony.
Chapter eighteen is titled as ‗New Freedom‘ and lasts one minute and eight
seconds. Tom, Irene and Renee are the participants. Tom, in the age of sixteen was
feeling himself an old age person. The brutalities of Nazis and heavy death toll
snatched from people the beauties of life. According to Tom Soviet Army liberated
Budapest and after getting freedom people did not know where to go and whom to
find. The chapter depicts the after war situation when Jews were set free and they
were kept in the displaced persons camps. Though they were in the camps but they
were free. Juxtaposing of talking heads is supportive to highlight the miseries of Jews.
All the nine dialogues are by Irene, Renee and Tom in talking heads mode. Non-
diegetic sound is used for thirteen seconds only that serves to link up the chapters.
‗Searching For Answers‘ is the title of nineteenth that lasts nine minutes and
forty seven seconds. The chapter traces the lives of three holocaust survivors, Renee,
Alice and Tom, explaining what they did after the liberation. The chapter starts with
the search of holocaust survivors for their families, and whereabouts. Renee visits
Poland to find her sister Klara and comes to know that she is dead. Alice also comes
to know that her sister Edith is dead. Renee and Alice both visit cemeteries and say
prayers for their families. Footage of cemetery shows the symbolic burial of Edith.
Renee also lighted up candle in the crematorium-5 for her mother. Tom gets a
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scholarship for University of Washington and moves to that place. Due to starvation
at concentration camps, Tom‘s mental preoccupation was still with hunger even when
he was moving to America. Juxtaposing of talking heads is supportive to the main
discourse. Talking heads mode is used in all the eighty two dialogues however video
clips related to the participants‘ statements are inserted at different points. Non-
diegetic sound is used for three minutes and twenty seven seconds.
‗Returning‘ is the title of chapter twenty that lasts six minutes and eight
seconds. The main participants Renee and Irene, holocaust survivors, return to their
native lands but everything is changed there. Renee says, ―Everywhere we went the
word ‗Jew‘ does not exist.‖ The scene depicts how Nazis tried to scratch the identities
of Jews. Renee visits a concert hall that was the then Jewish synagogue in former
Hungry and now Ukraine‘s city Uzhorod. It is depicted that Jews religious places are
transformed into something else. Sequence of the scenes is supporting to highlight the
depression of Jew survivors. Renee with her husband and daughter visits her house
and feels lucky that she has a chance to go back to United States which she considers
her home now. All the seventy six dialogues are in talking heads mode. Non-diegetic
sound is used for one minute and forty nine seconds.
―Life Today‖ is the title of chapter twenty one that lasts six minutes and
eleven seconds. Irene, Tom Renee, Alice, Bill and Dr. Paul are the participants of this
chapter. The chapter focuses on the present life routines of Irene, Renee, Bill, Alice
and Tom. Tom Doyle is one of the only survivors of Holocaust, ever elected to the
Congress of the United States. A newsreel is incorporated in the scene to share about
Tom‘s status in the Congress. Renee is an educator on the Holocaust at the museum of
tolerance and founder of the Outreach Program. She considers it her duty to make the
world aware of what happened during the World War II. Alice, as an artist, paints
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about holocaust and shares her feelings and experiences through that medium. She
tells that two of her grandchildren are rabbis. Bill‘s family was almost wiped out but
now he is living a happy life with his children and grandchildren. Dr. Paul receives a
menorah of concrete nails prepared in the camp several years ago by a guy liberated
by Dr. Paul. The chapter shows the survivors leading successful lives in America but
still occupied by holocaust that is reflected in their professions. Non-diegetic sound is
used for four minutes and forty two seconds that is supportive to the main discourse.
All the forty seven dialogues are in talking heads mode.
―Remembrance‖ is the title of chapter twenty two that lasts four minutes and
eight seconds. All the five holocaust survivors are the participants of this chapter who
explain ‗holocaust‘ with the perspective of God and religion. Irene says, ―Liberation
was like a present from the world and that‘s the first time, I acknowledged God again
that He is around and helped me get to this point.‖ A previous chapter explains how
Renee thought that God does not exist during the holocaust days. Irene says, ―I don‘t
think that God created the Holocaust. I think that God gave us a mind and a heart and
free will and this is up to man, what he is going to do with his life. And I blame man,
not God.‖ Irene‘s approach regarding holocaust is different as compared to Renee
because she does not blame God for holocaust. Alice comments that Bible teachings
do not support Holocaust. Randolph says, ―Hitler remained a pathological anti-Semite
to the end. The Holocaust has to be taught as a chapter in the long history of man‘s
inhumanity to man. One can not ignore the discrimination inflicted on many people
because of race, color or creed.‖ Randolph‘s comments are considerable as in the
history of human barbarianism there are many occurrences. Bill quoted Hitler‘s will
executed in April 29, 1945, ―Above all I enjoin the government and the people to
uphold the race laws to the limit and to resist mercilessly, the poisoner of all nations,
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International Jewry.‖ Bill‘s comments depict that he considers racial discriminations
as the basic reason of holocaust. Juxtaposing of talking heads with archive footage is
serving as a flash back. One statement appears on the screen to set the context of
talking heads. Sequencing of scenes is giving a climax to the tragedy. All the twenty
dialogues are in talking heads mode used with visual evidences. The last chapter
concludes the reflections and arguments of holocaust survivors. Non-diegetic sound is
applied two minutes and fifty two seconds.
Chapter twenty three is titled as ‗Closing Credits‘ and lasts four minutes and
forty seconds. Details of the productions team appear on screen with a sad music. The
film is in talking heads mode however text appears in some chapters to explain the
situation. Running time of the film is eighty seven minutes and Jews are the main
participants of this film. Titles of the chapters reflect the shooting plan and point of
view of the filmmaker. Overall film is an attempt to narrate the stories of holocaust
survivors in a chronological order.
James Moll directed and edited this documentary for which he received the
Academy Award for Best Feature documentary in 1998. Moll previously produced the
award winning documentaries ‗Survivors of the Holocaust‘ (TBS) which was
recognized with two Emmy Awards, a Peabody Award, a Cable Ace Award, and a
National Education Association Award, and ‗The Lost Children of Berlin‘ (A&E)
which was awarded the 1998 Edward R. Murrow Award.
In this film the filmmakers James Moll, June Beallor, Ken Lipper and Steven
Spielberg have applied the rhetoric strategy of talking head and voice of authority as
modes of documentary. All the twenty two chapters are constructed through talking
heads and voice of authority however archive footage is used to support both modes.
The total time consumed in the talking heads mode is 72 minutes and 16 seconds. The
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total time of voice of authority mode is 2 minutes while direct cinema mode time is 8
minutes and 27 seconds. The following graph shows the details of filmmakers‘
interference level.
Figure 6.18 Interference level of the filmmakers in the film ‗The Last Days‘
Films running time is 87 minutes and non-diegetic sound is used for 46
minutes. For the maximum time, talking heads mode carry archive footage that is
supportive and helps in frmae amplification and frame extension. The film won an
Oscar and was nominated for Eddie Awards by American Cinema Editors.
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6.2.1.12 Qualitative Analysis of „The Long Way Home‟
The ‗Long Way Home‘ is 1997 Oscar-winning documentary. The main
discourse is to depict the struggle of Holocaust survivors after the World War II. The
film is constituted by the archival footage, oral histories, interviews, letters and
diaries. At the end of the war, when Nazi concentration camps were liberated, there
was no place for Jews to move. They thought that Palestine would become their new
Jewish homeland. So, they tried to reach there in spite of severe weather conditions
and other catastrophe. The documentary depicts physical hardships as well as political
crisis faced by the survivors of the Holocaust. According to Robert J. McNamara,
―The Long Way Home does a fine job of describing the complicated political dealings
that involved the United Nations, the U.S. administration of Harry Truman, and, of
course, the Arab states that were hostile to the very idea of the country of Israel.‖
However, the film is also perceived as a tool of propaganda by another filmmaker
Spike Lee. Voice over is given by Morgan Freeman.
‗Liberation‘ is the title of chapter one that lasts six minutes and thirteen
seconds. The chapter starts with some text from Exodus 13, quoting salvation of
Pharaoh‘s people form his brutalities. The main participants of the chapter are two
holocaust survivors. They express their reactions on seeing the Allied armies. The
survivors were disturbed, dejected and uncomfortable upon their arrival. They were
all shaved heads, sunken cheeks. It was quite difficult to distinguish them. The
chapter‘s focus is to depict Holocaust survivors‘ conditions after their ‗liberation.‘ In
a total of twenty two dialogues, three are in voice of authority and nineteen are in
talking heads mode. Juxtaposing and archive footage serves as a testimony to
strengthen the arguments of talking heads. Non-diegetic sound is neutral and used for
two minutes and twenty six seconds.

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‗Mass Graves‘ is the title of chapter two that lasts five minutes and forty seven
seconds. The main participants include four holocaust survivors and Israel Lau who is
now chief Rabbi of Israel. People throughout the world were celebrating the end of
war. However, David Ben-Gurian considers it a bad day as six million Jews has been
slaughtered during the war. Form the diary of David Ben-Gurian, it is told that world
leaders and even Jew agency from Palestine did not approached and helped to stop the
cruelties. In the concentration camp, Lau was eight years old. His brother told him
about his homeland, Eeriest Israel and the death of his parents. He advised him to
move to Eeriest Israel if survived. Eeriest Israel means the land of Israel. Survivors,
after their liberation were concerned for their food. According to one of the survivors,
―When I was liberated we ate and ate and ate.‖ The survivors‘ conditions were very
deplorable. Within few weeks of their liberation, thousands died. There were thirteen
thousand corpses to bury. That is why the chapter is titled as mass graves. In a total of
thirty four dialogues, ten are by Morgan Freeman in voice of authority and twenty
four are in talking heads mode. Both modes are supportive to the main discourse.
Juxtaposing of the modes and archive footage facilitates to project the discourse. Non-
diegetic sound is supportive and used for two minutes and forty seconds.
‗Divided Land‘ is the title of chapter three that lasts seven minutes and twenty
one seconds. The entire chapter is constituted by the memoirs of survivors. Morgan
Freeman‘s voice over sets the tone and context to the main discourse and supports the
argument of the survivors. For Jews, Eeriest Israel belongs to them for the last three
thousand years. Though Romans attacked Jerusalem in the second century and Arabs
invaded Palestine in the seventh century but Jews consider Jerusalem their homeland.
Jews survivors received cold shoulder at their native places. According to the
survivors, people do not want to see Jews alive. Britain was ministering the divided
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land of Palestine since World War I. To restrict the entry of Jews in Palestine, British
government issued white paper in 1939. However after the World War II, Britain
allowed fifteen thousand Jews to enter Palestine each month. Survivors‘ reflections
and voice over are juxtaposed that support the case of divided land. In a total of forty
two dialogues, twenty two are in voice of authority and twenty are in talking heads
mode. Juxtaposing of talking heads, scene sequence and archive footage are
supportive to depict the tragedy of Jews. Non-diegetic sound is used for five minutes
and nine seconds and supports the main discourse.
‗Refugees‘ is the title of chapter four that lasts seven minutes and thirty two
seconds. The chapter is constituted through Abraham Klaussner, survivors and
Morgan‘s narration. After the liberation, Jews did not know where to go. Their
families, homes, and relatives everything was lost. Country wise, refugee camps were
established. There Jews were together with the war volunteers and German allies. As
a woman survivor says, ―It is better to be a conquered German than a liberated Jew.‖
Camps were wired for security purposes but wire was reminding them of the
concentration camps. When U.S. Army Chaplain Klaussner visits one of the camps,
he is touched by heart due to the ache of lost families. A complete list of surviving
Jews in six volumes was compiled and sent throughout the world. The chapter focuses
on refugees‘ sufferings and psychological problems. Juxtaposing of talking heads to
archive footage facilitates to project refugees problems. In a total of thirty nine
dialogues, twelve are in voice of authority and twenty seven are in talking heads
mode. Non-diegetic sound is used for four minutes and thirty five seconds.
‗The Jewish Brigade‘ is the title of chapter five that lasts nine minutes and
thirty five seconds. The participants include survivors, Israel Lau, Abraham
Klaussner, Attlee and Morgan‘s narration. England reluctantly allowed Jews to fight
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with the British Army in Europe under the banner of Jewish Brigade. They felt pride
in uniform with Star of David on their shoulders. The camps of ‗Displaced Persons‘
after the liberation looked liked lunatic asylum. Allied forces ordered to transfer
children from Germany to Palestine as early as possible. Israel Lau was among the
first survivors of the holocaust who reached Eeriest Israel. In the British General
Elections of 1945, Winston Churchill lost the elections though he defeated Nazi
Germany. Jews hopes were high from the new government. As it granted permission
of fifteen thousand Jews to enter in Palestine every month. Earl G. Harrison, the Dean
of the University Pennsylvania Law School was appointed to submit report about US
army‘s treatment towards DPs. His report submitted to President Truman was very
critical. Truman suggested the immediate admission of a hundred thousands refugees
to Palestine. But British Prime Minister Attlee turned down the request. The chapter
does not focus on Jewish Brigade but there are many other issues highlighted. The US
and British administration are compared for their treatment towards Jews. In a total of
forty four dialogues, twenty two are in voice of authority and twenty two are in
talking heads mode. Archive radio news relay and footage is used as a testimony to
the talking heads. Non-diegetic sound is used for four minutes and twenty three
seconds.
‗Yom Kippur, 1945‘ is the title of chapter six that lasts six minutes and eight
seconds. The main participant is Herbert Friedman who is a US Army Chaplain. The
chapter starts with the celebrations of Yom Kippur. It is the 10th day of Tishri on the
Jewish calendar. According to Mosaic Law, Jews observe fast on that day. The Jews
of DP camps came together for pray. The congregation was crying and mourning on
their miseries. General Eisenhower and Patton visit the DP camps and remove the
army military guards. The guards were being perceived as SS (Schutzstaffel) so, they
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were removed. Later on, Patton considered it a serious mistake. According to
Eisenhower, world is different for the survivors of the Holocaust. This attitude united
the whole Jewish community. As a result every major Jewish organization demanded
Palestine as their homeland. Restricted immigration in the Palestine also united the
three hostile Jewish groups; Eragon, Izakham Shamia, and Hagana. These groups
began guerilla attacks in Palestine against British military. Archive radio news relay
shares bombings in Jerusalem. US Army Chaplain Herbert Friedman tells how he was
contacted by Hagana to safely transfer Jews from Eastern Europe to Germany. Anti-
Jews discourses are also depicted. Some people thought that if Jews were not
restricted to the camps, they would have spread like locusts throughout the country.
Archive footage and juxtaposing of pro and anti discourses about Jews help to win
support for Jews. In a total of twenty six dialogues, six are in talking heads and twenty
are in voice of authority mode. Non-diegetic sound is used for two minutes and six
seconds.
‗Migration‘ is the title of chapter seven that lasts seven minutes and fourteen
seconds. Herbart Friedman, survivor one and Goering are the main participants.
Herman Goering was in the German Royal military and one of the most devoted
followers of Hitler after World War I. He was promoted to the highest ranks in
military i.e. Reichsmarschall. Goering was a devoted fighter as he believed, ―…the
great conquerors of history are not seen as murderers; King Khan, Peter the Great,
Fredrick the Great.‖ He loved to be a martyr than remembered as a traitor. However,
Hitler convicted him for his suggestion to make peace with Allies during World War
II. The chapter ‗Migration‘ focuses that all the Jews from different parts started
coming to DP camps. They were trying to migrate to Palestine that transformed into
the largest illegal mass movement in modern times. The DPs also established schools
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to teach Zionism and Judaism both. According to Morgan it served as ―the two
sustaining faces of the survivors.‖ Herbert Friedman views that the negative
conditions motivated Jews to fight their way out. Jews tried to reach Palestine by
hook or by crook. One of the survivors tells that cigarette was the currency of black
market and they used them to bribe people on their way to Palestine. In a total of
thirty one dialogues, two are in talking heads and ten in voice of authority mode while
nineteen are in direct cinema mode. Sequence of scenes and archive footage serves as
a testimony to the arguments of talking heads. Non-diegetic sound is used for two
minutes and forty five seconds.
‗Cultural Rebirth‘ is the title of chapter eight that lasts five minutes and fifty
seconds. The chapter starts with a song that is very symbolic to cultural rebirth. The
main participants include Livia Shacter and Ruth Gruber. The Jews gathered in DPs
were almost from fifty countries. Culturally they were very different but their similar
conditions and problems made them almost alike. That is why Livia Shacter in
Auschwitz married to a Polish Jew. The wedding celebration introduced a new culture
at the camps. In 1946, a committee with twelve members was formulated by U.S. and
Britain to investigate refugees‘ problems in Palestine. Ruth Gruber, a correspondent
of New York Post also joined that committee. The committee‘s main focus was to
look into humanitarian problems. In Germany, among 19,000 Jews of DP camps 97%
wanted to settle in Eeriest Israel. Jews at camps were imputed with the ideal of
Palestine. They attached their survival with the creation of the Jewish state in
Palestine. Though the chapter‘s title is ‗Cultural Rebirth,‘ but the main focus is to
depict Jews aspiration for the creation of Jewish state in Palestine. In a total of thirty
one dialogues, ten are in direct cinema and fourteen in talking heads while seven are
in voice of authority mode. Archive footage serves as testimony to the voice over‘s
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argument. Juxtaposing of talking heads is supportive to the main discourse. Non-
diegetic sound is used for two minutes and sixteen seconds.
‗The Road to Palestine‘ is the title of chapter nine that lasts eight minutes and
eight seconds. The main character is Harold Katz, a Brichah volunteer. Brichah is a
Hebrew word, means escape. Brichah was a Zionist underground organization of
Jewish holocaust survivors fleeing from Eastern Europe for Palestine. Since a limited
number of Jews were allowed, the declined ones tried every tactic to enter into
Palestine. Harold Katz tells that Hagana was determined to resist in case of any
interception. Jews did not want to submit to British. They did not want to behave ‗like
sheep going to slaughter.‘ They wanted to register to the world that they were
impeded because of their perseverance to go to their homeland, Palestine. In 1945,
ninety thousand refugees were trying to cross Mediterranean by ships to reach
Palestine. Out of sixty three ships, fifty seven were caught by British army. Morgan
shares about the ‗anonymous report recommending the immediate admission of one
hundred thousand Jewish immigrants to Palestine.‘ Prime Minister Atlee put it before
the house and it was decided that Hagana and other Jewish armies should be disarmed
first. In a total of twenty seven dialogues, twelve are in talking heads mode and fifteen
are in voice of authority mode. Non-diegetic sound is used for four minutes and
twenty seven seconds.
‗Changing Priorities‘ is the title of chapter ten that lasts six minutes. The
chapter is constituted through James Byrnes, voice over of Morgan, and radio news
relay. James was U.S. Secretary of State during 1945-47. Through voice over, it is
told that after the defeat of Germany, chief enemy of U.S. changed from Nazi to
communist. Though Jews were made slave laborers and Nazis plundered millions of
dollars and gold, the western allies were willing to ignore their crimes. James Byrnes
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arrived in Germany to assure industrialists ‗that if they stand with the US in the cold
war they will be able to keep their factories and industry.‘ According to James
Byrnes, America wanted to help Germany to get back its place among peace loving
and honorable nations of the world. Hebrew resistance movement Hagana started
annihilation throughout the country to influence British policies and countered by the
government. However, all Hagana commanders escaped. The chapter focuses that
with the change of the enemy, priorities also changed. In a total of twenty four
dialogues, two are in talking heads mode while twenty two are in voice of authority.
Non-diegetic sound is supportive and used for two minutes and fifty two seconds.
‗Massacre in Poland‘ is the title of chapter eleven that lasts four minutes and
nineteen seconds. The main discourse is to depict the repercussions of Jews killings in
Poland. General McNarney head of the US forces in Europe sent rabbi Freedmen and
Philip Bernstein to Warsaw for reporting the consequences. They met American
ambassador, catholic pope, Polish Prime Minister, and Communist party leader.
According to the report, almost one hundred and fifty thousand Jews were expected to
come from East to the West. It will not be possible to stop them without the
intervention of the army. Americans decided not to stop their movement. As a result
within three months, ninety thousand Jews left Poland and entered the American
zones of Germany and Austria hoping to migrate to Palestine. The chapter depicts that
both Germans and British were killing Jews whether they were in DPs camps or
somewhere else. All the eighteen dialogues are in voice of authority mode and archive
footage is used as a testimony to the argument. Non-diegetic sound is supportive and
used for fifty four seconds.
‗A Song of Hope‘ is the title of chapter twelve that lasts five minutes and ten
seconds. The main participants include David Ben Gurion, and Yael Danieli.
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Holocaust survivors are depicted through archive footage and voice over. David Ben
Gurion and Rabbi Freidman visit the DPs camps in Germany for inspection. In the
camps people took them as their saviors. Rabbi Friedman assures them that they will
have their own state in future. He inculcates hope in them and asks them to sing song
of ‗Hatikvah.‘ Hatikvah is a Hebrew word, means hope. Now Hatikvah is national
anthem of Israel. Jews were entering Palestine illegally and British were deporting
them to detention camps in the island of Cyprus. According to the voice over the
condition of detainees in Cyprus was very pathetic. Despite the wretched conditions,
five hundred babies were born in a year that symbolized their future hopes. Yael
Danieli, the director of Group Project of Holocaust Survivors and Their Children
explained the birth of babies as an act of defiance against Hitler. The chapter
highlights the hopes of Jews from their future by juxtaposing talking heads. In a total
of twenty nine dialogues, eighteen are in talking heads and eleven in voice of
authority mode. Non-diegetic sound is used for two minutes and thirty two seconds.
‗Birth of Future‘ is the title of chapter thirteen that lasts five minutes and six
seconds. The main participants include Livia Sacheter, Yael Danieli, and archive
footage of survivors with voice over. The chapter focuses on the Jewish patterns of
settlements. The Jews who aspired to have their homeland decided to move Palestine.
They became the part of Zionist movement. Others preferred to join their siblings
wherever they were. In America, Jews survivors had mixed reception. As Livia
Shacter one of the survivors, moved to America to join his brother. She felt that
people did not want to listen to her past experiences. Such circumstances silenced
Jews to share their feelings. The chapter title is suggestive of Jews future. It indicates
an increase in members of Zionism. It also depicts Jews migration to U.S. The birth
rate of Jewish babies in DPs camps is also suggestive. In 1946, it was thousand per
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month, highest among any Jewish community in the world. In a total of thirty nine
dialogues, twenty four are in talking heads while fifteen are in voice of authority
mode. Archive footage and juxtaposing of talking heads is supportive to the
arguments. Non-diegetic sound is used for fifty three seconds.
‗The Palestine Problem‘ is the title of chapter fourteen that lasts five minutes
and thirty three seconds. The chapter focuses how Palestine problems was approached
and negotiated. The main participant is Abba Eban, an Israeli diplomat. Due to the
increasing problems to colonial rule, British thought to cut down their budget in
Palestine. Rabbi Friedman and Burn Steve visit Ernest Bevin in London. He
suggested filing the issue in United Nations. According to Abba Eban, Soviet Union,
Latin America and social democratic countries of Europe were against Jews. He was
not very hopeful. In a special session, General Assembly appointed a special
committee to investigate the problem. Soviet Union ambassador Gromego supported
the idea of Jewish state. He said that Jews had very strong roots in the history of
Palestine. Moreover, they were not protected by western world during the World War
II. So, the possibility of establishing a Jewish state should be looked up. The
statement was very surprising for the Jews. However, the Arab High Committee was
not willing to discuss the idea of Jewish state. Juxtaposing of Chaplain‘s statement
with Abba Eban‘s dialogues wins audience favors for Jews. Archive footage with
voice over facilitates Zionists point of view to establish Jewish homeland. In a total of
thirty one dialogues, six are in talking heads and twenty five are in voice of authority
mode. Archive footage serves as a testimony to voice over. Non-diegetic sound is
neutral and used for fifty four seconds.
‗Exodus‘ is the title of chapter fifteen that lasts six minutes and eleven
seconds. Abba Eban, an American journalist and some survivors are the main
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participants of this chapter. Exodus is the ship carrying 4500 illegal immigrants from
France to Palestine. The ship was intercepted by British army and ducted on Hyphae
harbor. The chapter depicts that illegal immigrants were not allowed to get off and
received a very negative treatment. U.S. journalist visits one of the ship hospitals and
reports very pathetic conditions. The chairman of United Nations Special Committee
on Palestine and Abba Eban came to see the situation. Bevin returned refugees to
France but they were denied to land. Eventually the refugees were returned to
Germany. They were determined and full of hope. One of the woman survivor, who is
also a mother says, ―I m going to live cause no Jewish child will ever be burnt in a gas
chamber.‖ It shows that they were ready to face any kind of situation. In a total of
twenty six dialogues, twelve are in voice of authority while sixteen are in talking
heads mode. Archive footage is supportive to the arguments in talking heads. Non-
diegetic sound is supportive and used for one minute and fourteen seconds.
‗U.N. Resolution‘ is the title of chapter sixteen that lasts five minutes and fifty
one seconds. The main participants include Clark Clifford, Abba Eban and voice over.
The chapter focuses the resolution proposed by UNSCOP. ―Seven of the eleven
members of the committee recommend partition of Palestine into two separate states,
one Arab and one Jewish with the city of Jerusalem to be under international trustee.‖
The next stage was to get two third majority in the U.N. fifty seven member countries.
Morgan tells that President Truman was in support of the creation of Jewish homeland
but many in his administration were not supporting the idea. Filibustering was used to
get some time. On the voting day, the turn out favors Jews and ‗he United Nations
offers the establishment of the independent Arab and Jewish states in a partition to
Palestine.‘ Jews in Palestine celebrated the resolution day. In a total of twenty six
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dialogues, twelve are in talking heads and one in direct cinema mode. Thirteen are in
voice of authority mode. Non-diegetic sound is used for chapter transition.
‗Campaign of Violence‘ is the title of chapter seventeen that lasts five minutes
and nine seconds. Clark Clifford and Morgan‘s voice over constitute this chapter. The
chapter starts depicting Arab‘s reaction. They were taking the resolution as they alone
were paying for Hitler‘s crimes. According to Morgan‘s voice over, as a reaction they
started a campaign of violence against Jews. Morgan tells that Jews in Germany,
Austria and Cyprus were waiting for the gates of Palestine to open. Many a
departments of U.S. along with England were not approving the resolution. So,
American government also turned against the Jewish entrance in Palestine. Britain
was leaving its control and Zionist leaders were undecided about the declaration of a
new state. President Trumann meets Secretary of State George Marshall to make the
case for recognition of Jewish state. The title of the chapter and the contents are a
divergence. The chapter depicts the efforts of U.S. in getting recognition for Jewish
state. In a total of twenty two dialogues, seven are in talking heads mode and fifteen
are in voice of authority mode. Non-diegetic sound is used for fifty seven seconds.
‗Israel‘ is the title of chapter eighteen that lasts three minutes and eight
seconds. The chapter is constituted by the response of a woman survivor on the
establishment of Israel and voice over of Morgan. On 14th May 1948, the executive
cabinet of the Jewish agency ‗proclaimed the establishment of the Jewish state in
Palestine to be called Israel.‘ A woman survivor relates this decision with their
singing of ‗Hatikvah.‘ The state of Israel is declared and United States becomes the
first country to recognize the new state of Israel. The main discourse is to depict Israel
as a recognized state. In a total of eleven dialogues, one is in direct cinema and ten are
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in talking heads mode. Non-diegetic sound is supportive and used for one minute and
nine seconds. Juxtaposing of voice over and talking heads is facilitating each other.
‗Jewish Homeland‘ is the title of chapter nineteen that lasts five minutes and
nine seconds. The main participants include Livia Shacter, Chaplain, Rabbi, survivors
and the voice over. The main discourse is to depict reflections of the Jews who have
been struggling for their survival and homeland after WWII. For Jews, the period of
1945-48 was a period of hope and dismay. As Rabbi Friedman says, ―We came out of
the ashes of Holocaust to Eeriest Israel… This is our continuity, our eternity.‖ All the
participants are of the view that they lost in a way and they won in another way. They
lost in holocaust and they won in the establishment of their homeland Israel. In a total
of eighteen dialogues, sixteen are in talking heads while two are in voice of authority
mode. Non-diegetic sound is used for three minutes and forty seven seconds.
Juxtaposing of talking heads, archive footage, scene sequence and music facilitate to
project the establishment of Israel as their accomplishment. Last chapter is titled as
‗End Credits‘ in which credits appear on screen without any music.
The film is based on religio-political discourse. Archive footage facilitates the
filmmaker to project his own viewpoint. That is why the dominant mode is voice of
authority mode. Juxtaposing direct cinema mode also supports the filmmaker to
reinforce sympathy and compassion for Jews. Lexical choices of the filmmaker help
to propagate issue in a peculiar way for example the term ‗Eeriest Israel‘ is used for
Israel before its establishment. The word refugee is used for illegal Jew immigrants
trying to enter in Palestine. Chapters‘ titles are setting the frames and representative of
the contents. Voice of authority mode is used for 254 dialogues and talking head is
sued for 257 dialogues. The following graph shows the interference level of the
filmmaker.
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Figure 6.19 Interference level of the filmmaker in the film ‗The Long Way Home‘
minutes. The film won an Oscar and an Audience Award in Palm Springs
International Film Festival. It was also nominated for Grand Jury Prize in Sundance
Film Festival and Best Documentary by Valladolid International Film Festival. Two
films of Mark Jonathan Harris have won Oscar awards and both are on Jews.
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6.2.1.13 Qualitative Analysis of the Waco: The Rules of Engagement
‗Waco: The Rules of Engagement‘ released in 1997, is an Oscar-nominated
documentary directed by William Gazecki. The documentary depicts the conflict
between the Branch Davidians, Bureau of Alcohol, Tobacco and Firearms (BATF)
and Federal Bureau of Investigation (FBI). The direct conflict started on February
20th, 1993 and met to its end on April 19, 1993. The documentary depicts a different
perspective of the tragedy by using footage of the fifty one days siege, evidence of the
people directly related with the siege, experts on religious, psychological and
technical aspects of the issue, and congress hearings. The US government held that
Branch Davidians themselves set the fire in the compound that resulted in casualties.
Despite David Koresh's pledge to surrender, the FBI and the Army attacked. US
government perceived Branch Davidians as cult. However, the documentary depicts
Davidians as a valid religious group that belongs to non-mainstream Christians, led by
David Koresh. David Koresh, wants to promote Branch Davidians as dedicated
Christians. However, according to the First Amendment, they have the permission to
practice their beliefs.
The film is divided into twelve chapters. Chapter one is titled as ‗Nobody‘s
Coming‘ and lasts eight minutes. The main participants include James D. Tabor, a
professor in the University of North Carolina; Bob Ricks, FBI Spokesman; William
H. Zeliff, Jr., US Congress member from New Hampshire; Webster Hubbell, former
Associate Attorney General of Clinton Administration; Tom Lantos, US Congress
member from California; Howard Coble, US Congress member from North Carolina;
and Dick Reavis, author of ‗The Ashes of Waco.‘ Davidian home video shows
reflections of some Davidians killed later on. The opening consists of negotiation tape
that depicts Branch Davidians, government and media. The film focuses on religious
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beliefs and background of the Davidians who were victimized in 1993. This focus is
juxtaposed with ATF and FBI‘s violent response to the Davidians. FBI spokesman
Bob Ricks in a news conference explains that Davidians killed themselves. FBI did
not kill them. ―We did not introduce fire into this compound… I can't tell you the
shock and the horror that all of us felt when we saw those flames coming out there. It
was, oh my God, they're killing themselves!‖ Jim Cavanaugh belongs to BATF. He
negotiates with the Davidians at Waco. Sequencing of the negotiations, hearing of the
case and Davidian‘s home video are countering arguments and dramatizing the
situation. Howard Coble, member of US Congress explains his viewpoint during the
hearings. He states that according to the reports of Treasury Committee, ‗ATF blew
it‘ while Justice Committee exonerates FBI. James Tabor, a religious scholar from the
University of Carolina comments on Waco tragedy. He says, ―There was an element
in the press conferences everyday . . . to demonize David, and it was through the
language, you know, cult leader David Koresh, compound and bunker militarize the
situation so that nothing ever positive came out.‖ The comments show how the
discourses of administration and the media affected the image of Branch Davidians
and Koresh. David Koresh thought himself as seventh messenger mentioned in the
book of revelations, the book of Isaiah and many of the Psalms. Non-diegetic sound is
used for seven minutes and twenty three seconds that is dramatizing the whole
situation. Davidian home video is used as a counter argument to elaborate the whole
situation. In a total of eighty one dialogues, sixty two are in direct cinema mode,
seventeen are in talking heads mode while two are in voice of authority mode. Thus,
the dominant mode is direct cinema mode however the statements in voice of
authority mode support and authenticate the dialogues through direct cinema mode.
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Second chapter is titled as ‗The Branch Dividians‘ and lasts five minutes and forty
two seconds. The main participants include James Tabor and David Koresh. James
Tabor from University of North Carolina tells about Davidians‘ emergence. He says,
―The Branch Davidians are a break off from the Seventh Day Adventist Church.‖
Advent means the second coming of Jesus. Talking heads is followed by voice of
authority mode and further explains about Davidians. In the 1930s and 40s, Victor
Houteff started Davidianism with the belief that God has once again visited his people
with a living prophet. He claimed to be that prophet and moved his people to Texas
from Southern California during the 1930s. After the death of Victor Houteff, his wife
Lois led the Davidians. Davidians believed Bible to be ‗literal truth‘ and its ‗cryptic
Seven Seals‘ was their focus. According to them Seven Seals revel God‘s planning till
the Day of Judgment. They believed that Bible's predicted final battle between good
and evil was over. Non-diegetic sound is used for five minutes and eight seconds to
dramatize the situation. The main discourse is to give a detailed introduction of
Dividians. In a total of forty three dialogues, twenty three are in voice of authority
mode. Talking heads mode is applied for fifteen dialogues and five are in direct
cinema mode.
Third chapter is titled as ‗24 Children‘ and lasts eight minutes and fifty five
seconds. The main participants include Russ Feingold, member US Senate; Nancy T.
Ammerman, professor at Emory University; James Tabor; Alan A. Stone, professor at
Harvard University; David Koresh and Davidian survivors. Scenes depicting David
Koresh are juxtaposed with James Tabor to critically evaluate the arguments of David
Koresh. Russ Feingold enquires about any consistency in the pattern of allegation on
David Koresh with other religious groups. David Koresh was accused with child
abuse, polygamy, marrying underage women and violence. Nancy Ammerman

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believes that such allegations should be investigated seriously. She maintains that
when a group lives very differently, majority responds to them with fears,
expectations and exaggerations. David‘s justification is based in exercising his right
of complete freedom as an American citizen. He believes in holding weapons but not
hurting anybody. He believes to have twenty four children to fulfill the prophecy.
James Tabor explains the belief system of Davidians that they believed twenty four
children will rule the world and find various prophecies. In a transcript, David Koresh
apologizes one of his wives for becoming too human in the sexual act. The scenes
elaborate allegations and the justifications of David Koresh through talking heads and
voice of authority mode. Non-diegetic sound is used for five minutes and thirty eight
seconds to heighten interest. In a total of ninety two dialogues, seventy two are in
talking heads mode and nineteen are in direct cinema mode. Only one dialogue is in
voice of authority mode that explains government‘s considerations to revise policy
towards unconventional groups. It is neither supportive nor against Davidians.
Chapter four is titled as ‗48 Machine Guns‘ and lasts ten minutes and forty
eight seconds. The main participants include Dick J. Reavis, David Thibodeau,
Branch Davidian Survivor; Kiri Jewell, former Branch Davidian; Dick DeGuerin,
attorney for David Koresh; Jack Zimmerman, attorney for Steve Schneider; Jack
Harwell, Sheriff, McLennan County; Chuck Sarabyn, ATF Special Agent; Nancy
Ammerman. Participants from US Congress members include Karen Thurman, John
Conyers Jr., Howard Coble, Steven Schiff, William H. Zeliff Jr., Tom Lantos, and
Charles E. Schumer. The chapter elaborates the allegation of illegal weapons on
Davidians. FBI thought that machine guns and explosive devices are being
manufactured in the compound of Davidians‘ residence. Dick J Reavis is convinced
about rape allegations on Koresh. However, ATF has no jurisdiction over those
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offenses but continued its searching. ATF, US Congress members and Branch
Davidian survivors‘ statements constitute this chapter based on the video footage of
the hearings. ATF justifies its action because they perceived Koresh as a danger to the
surrounding community. Dick Deguerin who is attorney for Koresh stresses on the
first amendment of US constitution that gives freedom and with that freedom comes
the right to exercise religious beliefs. There is only twenty seconds non-diegetic
sound that is used on the talking heads mode. In a total of hundred and nine dialogues,
ninety six are in direct cinema mode while thirteen are in talking heads mode.
Chapter five is titled as ‗Flash Grenades‘ and lasts two minutes and forty four
seconds. The main participants include Charles E. Schumer, Dick DeGuerin, Bob
Barr, and Jim Cavanaugh. The chapter is base on the video footage of the hearings.
The cross questioning of Charles and Dick are juxtaposed with Bob and Jim‘s cross
questioning. The discourse is to bring forth any testimony of the existence of illegal
weapons. According to Dick, ATF threw hand grenades in the compound and Koresh
did not have any hand grenades. Bob Barr quotes the statement of an ATF‘s officer
given under oath about the use of hand grenades. He said that hand grenades are
designed to help kill the suspect while not endangering the law enforcement officer.
The chapter doubts ATF‘s commando action against Dividians. Non-diegetic sound is
not used in this chapter. All the forty four dialogues are depicted though direct cinema
mode.
Chapter six is titled as ‗Raid‘ and lasts twenty minutes and thirty seconds. The
main participants are from US Congress, ATF officers and survivors Branch
Dividians. Stuart H. Wright is the Editor of Armageddon at Waco; Alan A. Stone is
from Harvard University; Robert Sanders and Bill Hartnett both are former ATF
Deputy Directors; Dick DeGuerin is attorney for David Koresh, Orrin Hatch member
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US Senate, Clive Doyle and Sheila Martin are Branch Davidian Survivors; Robert
Rodriguez is ATF Undercover Agent, Chuck Sarabyn is ATF Raid Team
Commander. Among US Congress members are John B. Shadegg, Steven Schiff, Bill
Brewster, Melvin Watt, and Robert L. Ehlich, Jr. The main discourse is to depict the
background and perspectives of ATF, US Congress members, academicians, media
person, and Davidian survivors about ATF‘s raid on Branch Dividians. During the
stand-off at Waco, the fear to be killed prevailed among Branch Davidians. President
Clinton administration charged David Koresh with sexual abuse of the Branch
Davidians' children. US Attorney General, Janet Reno who was in the Clinton‘s
administration made similar claims about child abuse to justify their decisions to
approve the gas-attack. These allegations profoundly influenced public opinion
against Koresh and the Branch Davidians. Media‘s coverage facilitated federal
authorities, resulting in Americans‘ opinion against Branch Davidians and Koresh.
During the fifty one day siege, FBI provided Davidians the camera to talk about
themselves. But FBI did not public those tapes. According to Dick Reavis, author of
‗The Ashes of Waco,‘ those video tapes could help Koresh to win public sympathies.
Filmmaker William Gazecki seems to depict the point that media served as
propaganda tool. The Federal Administration, FBI and BATF are responsible for the
killings but covered up by the government and media. James D. Tabor comments on
the official tactics and its reaction. According to him psychological warfare and other
tactics led the Davidians actions. The two things that created the most sensation about
Davidians were sex issues and arms. David‘s marriage with underage women,
polygamy, and possession of arms were the issues used by government and media to
win public favors. The chapter is constituted on the strategy of juxtaposing the two
opposite views regarding Waco incident. FBI and ATF are the one party while
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Davidians, US Congress member, photographers are the other party. The expert
opinion of psychiatrist and theologian also constitutes the film. Non-diegetic sound is
used for eleven minutes and twenty seconds on talking heads mode that is supportive
to the argument. In a total of two hundred and thirty four dialogues, one hundred and
sixty one are in direct cinema mode, fifty six are in talking heads mode and seventeen
are in voice of authority mode.
Chapter seven is titled as ‗Truce‘ and lasts sixteen minutes and three seconds.
The main participants include David Koresh, Jack Harwell, Dan Maloney, Jack
Zimmermann, Dick DeGuerin, James Cavanaugh, Davidian Defense Attorney Tim
Evans, Branch Davidian Survivor Kathy Schroeder, FBI Special Agent Jeffrey Jamar,
Dick J. Reavis and some US Congress members. The chapter opens with the
discussions between the two parties; ATF on one side and attorney of David Quresh
and US Congress at the other side. The discussion is about destructive devices used in
the conflict. ATF Special Agent, James Cavanaugh says, ―Their guns sounded like
cannons. And our guns were pop guns. We had 9 millimeters; they were hitting us
with 223s, AK-47's, 50 millimeters.‖ Davidians were equipped with latest weapons
and they were using them. Sheriff Jack Harwell comments, ―They could've killed
every ATF agent out there the day of the raid, had they kept shooting.‖ The reason is
discussed by James Tabor that why a peaceful resolutions could not be achieved.
According to Davidians‘ theology, the fortunes of evil against good are mentioned in
Bible as Babylon. Davidians‘ considered their siege as final battle between Babylon
and them. Tabor says about Davidians‘ perceptions of the whole issue, ―perhaps we
are to die courageously like martyrs.‖ The killings of the Davidians by FBI agents are
taken to be in self defense by the jury therefore, they are acquitted of murder.
Reflections of the US Congress members provide another glimpse, different from FBI
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and ATF versions. Charles E. Schumer, US Congress member from New York does
not believe that Davidians were carrying hand grenades. He says, ―Mr. DeGuerin said
that flash bangers can kill, injure, maim. Anyone who knows anything about these
things knows that they can't.‖ Another US Congressman Bob Barr from Georgia
criticizes ATF for carrying destructive devices in Waco. These gestures created
harassment among Davidians. US Congressman, Steven Schiff form New Mexico,
points towards a technical mistake committed by ATF. Offense charged and search
warrants do not coordinate with each other as it was represented as an anti drug raid.
He comments on this technical mistake as, ―ATF was in a hurry to make a big splash
with something.‖ According to John B. Shadegg, US Congress member from
Arizona, ATF did not want to arrest Davidians or make search, they really wanted to
conduct a raid. US Congressman from Oklahoma, Bill Brewster puts forth his
argument that a night before the incident, public relations officer of ATF issued
material for media. The content was suggesting that something of grave concern is
going to happen in Texas. Another Congress man Melvin Watt from N. Carolina
criticizes House Bill 666 that is a void of human rights. With reference to Fourth
Amendment that guarantees the right of people to be secure in their houses; Waco
incident is in direct contrast. Media propagated Davidians to be involved in drugs.
That is why people consider ATF to be justified in its actions at Waco. Alan Stone
from Harvard University points out the lack of evidence for drugs. In spite of that
ATF raided the area. Judy Schneider Koresh through Davidians home video tells, ―I
was wounded when the ATF came in and assaulted us.‖ However, James Cavanaugh,
ATF special agent shares, ―And when we drove up, the Davidians opened fire.‖ On
Congress man Robert Ehrlich‘s question of who shot first, Zimmerman‘s response is
that the Davidians did not fire first. Jack Zimmerman is attorney for Steve Schneider
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and Dick DeGuerin is attorney for David Koresh. DeGuerin after careful inspection of
Waco tells that on the front door, every bullet hole was an incoming round. William
H. Zeliff, US Congress man from New Hampshire complaints about ATF. He was not
issued the copy of the video, instead claimed that the video was blank. The door was
also missing for inspection. One of the Davidians, Wayne Martin‘s conversation with
911 operator depicts that ATF started firing first. Clive Doyle, one of the Branch
Davidian survivors tells that bullets from helicopter shot at water tanks and hit
Winston Blake too. He says, ―Winston's lying on the floor beside his bed in a pool of
blood and water.‖ Rachael Koresh, who was killed in the raid, recorded her statement
about the killings of his father. She says, ―He was an unarmed man. And you guys
just shot through the door and killed him.‖ Lorraine Sylvia was also killed in the raid
on April 19, 1993. Her recorded statement depicts the killing of other Davidians by
ATF agents. For Sylvia, it was hard to believe that American people remained silent
observers. The video taped conversation of David Koresh and Jim Cavanaugh
recorded on 19th April 1993 constitute the chapter and juxtapose it with talking heads.
Conditions of Davidians during the siege and truce are explained in voice of authority
mode that is balancing the arguments. Koresh shows his wounds bleeding due to
bullets. He says, ―There's nothing that hurts me more than being called a Cult
Leader.‖ He thinks that he does not deserve to live if ATF is scared of him and
causing heavy toll to his people. Juxtaposing helps to read between the lines and
understand the views of both parties. In a total of one hundred and eighty eight
dialogues, one hundred and sixty three are in direct cinema mode. Fifteen dialogues
are in talking heads mode while ten are in voice of authority mode.
Chapter eight is titled as ‗Psychological Warfare‘ and lasts two minutes and
twenty one seconds. The main participants include Stuart H. Wright, Jack
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Zimmermann, Alan A. Stone, and Bob Ricks. Editor of Armageddon, Stuart H.
Wright counseled a cautious and non confrontational approach to FBI regarding
Koresh. He sent four memos to FBI‘s senior officials. However, FBI wanted to carry
out a confrontational approach. That‘s why FBI seniors pressurized Wright to change
his assessment. According to Alan Stone, FBI became an enemy of Branch Davidians
rather to bring them to negotiation table. He was included in the FBI‘s panel to
understand the psychology of Davidians inside the compound. He says, ―I quickly
became aware that the psychology of the people outside the compound was more
important to an understanding. They needed to take control.‖ FBI‘s spokesman, Bob
Ricks, on a reporter‘s question for not using psychological warfare, shows his
ignorance about psychological warfare. According to FBI camera man, Koresh was a
thorough gentleman. The main discourse is to depict the insignificant use of
psychological warfare. Filmmaker‘s viewpoint is not very evident because of the
absence of voice of authority mode. However, non-diegetic sound is used for one
minute and seventeen seconds on talking heads mode. In a total of twenty six
dialogues, nineteen are in direct cinema mode and seven are in talking heads mode.
Chapter nine is titled as ‗Gas Tank Attack‘ and lasts twenty one minutes and
twenty five seconds. The main participants include Alan A. Stone, James D. Tabor,
Bob Ricks, Clive Doyle, David Thibodeau, Dick J. Reavis, Steve Schneider, Jeffrey
Jamar, Nicole Gent, Dick DeGuerin, James H. Brannon, Philip Arnold, Steve Chabot,
Janet Reno, Webster Hubbell and US Congress members. The main discourse is to
depict the attack of ATF with gas tanks. FBI decided everything with the consultation
of Clinton administration. They decided to insert gas. During the case hearings Steve
Chabot tells that Treasury Secretary Rubin called a Democrat member of the inquiry
committee. He asked him to avoid embarrassing questions to the Clinton

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Administration. The statement shows that the hearing was politicized. Juxtaposing of
politicians statements and FBI‘s stance brings forth different dimensions of the
incident. The chapter makes it quite clear that how governments manipulate and
influence FBI. Clinton administration is clearly pointed out in this regard. Cavanaugh
tries to convince Koresh that helicopters were not carrying guns. According to
Koresh, God told him to wait. ATF‘s special agent Steve Schneider comments on
Koresh‘s divine decision to wait as fooling them. ―He couldn't leave this place where
he was god with unlimited sexual favors, unlimited being the messiah and walk out to
a cold jail cell.‖ William Gazecki, has juxtaposed Schneider‘s comments about
Koresh with Graeme Craddock‘s. Craddock is a Branch Davidians Survivor. As a
representative of the Branch Davidians, he says that Davidians genuinely believed in
Koresh. According to FBI, for five times Koresh promised them to come but did not.
This argument is challenged by Dick Reavis, author of ‗The Ashes of Waco.‘ He
indicates that negotiation transcripts do not testify FBI‘s stance. Davidians were
deprived of electricity and water throughout the period of 51 days. On 1st March 1993,
BATF handed control to the FBI. Special agent of FBI, Jeffrey Jamar justifies the
presence of FBI at Waco by saying, ―David Koresh and his followers killed four ATF
agents.‖ FBI and ATF both claim their positive role in the whole tragedy. Dan
Hartnett, Deputy Director ATF says that ATF is a law enforcement agency. Both
claimed their desire to control any further bloodshed. However Dick Reavis, the
author of ‗The Ashes of Waco‘ says, ―But the decisions are being made 15 hundred
miles away in Washington, DC.‖ These comments indicate that Central administration
was manipulating things. Non-diegetic sound is applied for a total of fourteen minutes
and nine seconds. Juxtaposing the statements of ATF officials with the footage of
Davidians is supportive to Dividians. In a total of two hundred and eighty eight

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dialogues, one hundred and forty five are in direct cinema mode while one hundred
and thirty three are in talking heads mode. Ten dialogues are in voice of authority
mode to explain Davidians home video.
Chapter ten is titled as ‗FLIR‘ and lasts nine minutes and forty seconds. FLIR
means Forward Looking Infra Red, a camera used to capture the incident of Waco.
The main participants include night vision physicist Edward Allard, Assistant
Director FBI Larry Potts, FBI Hostage Rescue Team Commander Dick Rogers,
Assistant Secretary of Defense Allen Holmes, Bob Ricks, Clive Doyle and US
Congress members. The main discourse is to depict the testimony of FLIR and
compare it with other evidences and statements. A surveillance plane was
photographing events on the ground with a Forward Looking Infra Red camera
(FLIR). According to the camera footage, a tank with a blade in front of it moves to
Mt. Carmel like smashing it. FBI hostage rescue team commander Dick Rogers tells,
―…during that entire time, those six hours, and indeed those fifty one days, the FBI
never fired one shot at the Davidians.‖ However, night vision physicist, Edward
Allard and FLIR analysis verifies eight bursts of gunfire at Davidians. Camera also
shows people moving inside and outside the building. According to the autopsy report
the dead bodies found closest were having extensive body mutilation. According to
two Branch Davidian survivors they saw fireballs shortly after fresh CS gas was
injected. CS gas and the methylene chloride tend to produce fire ball or a flash fire.
The doubts are raised regarding pyrotechnic explosions. The pyrotechnic devices are
military munitions but FBI denies any use of pyrotechnic devices. Two pyrotechnic
projectiles are found in the rubble of Mt. Carmel. According to Charles E. Schumer,
US Congress (New York), autopsy report suggests that twenty seven people found in
the compound died of bullet wounds. FBI‘s special agent Farris L. Rookstool was one
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of the primary photographers who photographed all the evidences after the incident.
He says, ―…many of the people in the residence were homicide victims.‖ FBI denied
any unofficial photographers to photograph and also collected all the evidences
including bullets, bullet cartridges, and fragments of grenades. FBI also took
videotape from Don Petty to review and never returned. On demanding the tape, FBI
said that it was lost. Non-diegetic sound is used for nine minutes and ten seconds that
is supportive to the tragedy at Waco. FLIR footage, talking heads and FBI‘s
recordings are juxtaposed to bring out differences in the statements. In a total of fifty
four dialogues, twenty three are in talking heads mode, nineteen are in direct cinema
mode, and twelve are in voice of authority mode.
Chapter eleven is titled as ‗Fire‘ and lasts seventeen minutes and nineteen
seconds. The main participants include FBI officials, fire brigade workers, US
Congress members, physicist, and Dividian survivors. According to Steve Schneider
the place was set on fire to kill Branch Davidians so all evidences are erased. FBI
inserted gas on 19th April, 1993 which was the 53rd day of siege. The dosage was
more than twice of the amount known to be fatal and it continued for more than six
hours. CS powder was dissolved in methylene chloride that is a volatile chemical used
for stripping paint. In closed spaces, CS gas alone can cause unconsciousness and
death. It can be ignited by a spark into a fireball. When it burns, it produces hydrogen
cyanide that is used in prison gas chambers. FBI told Davidians that in case of any
firing, the fires will return to them. According to FBI Spokesman Bob Ricks, ―Dozens
and dozens of rounds have been fired at FBI agents.‖ But FBI did not return fire. The
other side of the picture is shown through Davidian survivors. David Thibodeau, a
Branch Davidian survivor tells that when they buried Peter Gent, tanks ran over his
grave time and again. That is why Davidians were not trusting people outside. Clinton
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administration maintains that Koresh himself set fire to kill his people. When the CS
burnt, it produced hydrogen cyanide. Cyanide is used to put prisoners to death as it
makes the muscles contract so violently that it actually breaks bones. US Attorney
General Janet Reno replies to a reporter‘s question regarding setting the fire. He says,
―I have absolutely no doubt at all that the cult members set it.‖ ATF arson expert
shows his concern in completely destroying the building afterwards. The complete
destruction means removing all the evidences. Perspectives of different parties are
juxtaposed and scenes are sequenced in such a way as to highlight all the
controversies. Non-diegetic sound is used for fifteen minutes and forty nine seconds
on voice over and talking heads. In a total of one hundred and sixty one dialogues,
ninety are in talking heads mode while forty one in voice of authority mode. Thirty
dialogues are in direct cinema mode.
‗Aftermath‘ is the last chapter that completes in twelve minutes and eighteen
seconds. The chapter wraps up the findings of the investigation. Charles E. Schumer,
US Congress member suggests giving the benefit of doubt to ATF and FBI against
David Koresh. US Senate member Orrin Hatch declares not to find any evidence of
political corruption, influences or any conspiracy to kill Davidians. Joseph Biden,
another member of US Senate says about the whole incident, ―David Koresh and the
Davidians set fire to themselves. They committed suicide. The Government did not do
that.‖ According to Davidians theology, killing oneself is murder, unpardonable sin
and absolutely unacceptable. So, they can not be blamed for mass suicide. The film
ends on Charles E. Schumer‘s statement who is US Congress member (New York).
He and his colleagues are demanding to ‗eliminate the need for search warrants with
the good faith exception to the exclusionary rule.‘ Voice of authority mode depicts
that William Gazecki is against the killings of Davidians. Juxtaposing of Davidian

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survivors with different people provides an understanding of other people‘s views
regarding Davidians. Davidians perceived FBI as playing the part of Babylon. In
Bible, Babylon represents the fortunes of evil against good. They took it as the final
confrontation and preferred to die courageously like martyrs. Koresh was killed on 19
April 1993. He says before being killed, ―No one's gonna hurt me or my family.
That's American policy here.‖ Nicole Gent tells about the ruthless killing of his
brother. He says, ―I thought this was the country of, you know, freedom of speech,
freedom of religion, whatever. And just human decency, it just doesn't seem to exist.‖
Theresa Nobrega, who was killed on 19th April 1993, says, ―And, everything is in the
hands of God right now and we're just waiting on God. Whatever happens, you know,
it's the way God wants it to be.‖ Non-diegetic sound is used for five minutes and fifty
eight seconds. Filmmaker intends to highlight the belief of US citizens in their
constitutional freedom. He makes his point that Davidians were denied of that
freedom. In a total of one hundred and forty four dialogues, hundred and two are in
direct cinema mode while forty two are in talking heads mode. Voice of authority
mode is not applied in the last chapter. It is suggestive as filmmaker wants the
audience to decide the case after depicting maximum dimensions of the case.
Though the film is constituted by different reels, some footage is provided by
FLIR, some by home made Davidians. ATF provided Koresh a video tape to record
his stance for the world. Filmmaker has actually tried to present different angles and
dimensions of the incident by juxtaposing different perspectives. The video tape
provides explanation of some important points like why Koresh did not vacate the
place in spite of FBI‘s instructions. The video explains that Koresh was completing
his interpretation of seven seals. First seal was completed and he provided the proof
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of working. According to the interpretation they were going to die at that time so they
were quite relieved.
In ‗Waco: The Rules of Engagement,‘ the filmmaker William Gazecki has
applied all the three modes. The film was nominated for Oscar in 1997. The main
discourse is to depict Davidians; incident at Waco. The following graph shows that
direct cinema mode is used for maximum time that is 1 hour and 35 minutes. All the
twelve chapters are titled by the filmmaker. However the chapter titles are reflective
of the main frames of the chapters and suggest filmmaker‘s argument. Archive
footage is serving as inter-textuality. The total time for talking heads mode is 30
minutes and 14 seconds while voice of authority mode is used for 10 minutes and 10
seconds. The following graph shows the details of filmmakers‘ interference level.
Figure 6.20 Interference level of the filmmaker in the film ‗Waco: The Rules
of Engagement‘
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minutes. Supportive archive footage, video clippings and non-diegetic sound reflect
frame amplification and frame extension. The film was nominated for Oscar however
it won four other awards. The awards include International Documentary Association
Award, Most Popular Documenatary Award in Melbourne International Film Festival,
Emmy Award, and Best Documentary Feature Award in Vancouver International
Film Festival.
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CHAPTER 7
Conclusion and Recommendations
This study intended to investigate the patterns of religions‘ depiction in Oscar-
winning and Oscar-nominated documentaries. The research explored the details about
depicted religions with reference to the technical treatment given to the followers of
any religion. The objectives of the study were to trace and explore relationships of
religions representations within and among the followers. Politics of representation
served as a context to analyze promotion of certain religious discourses at the cost of
marginalizing others. In the context of 9/11, religious discourses have been receiving
negative treatment especially in the case of Islam. Therefore, the study aimed to
explore the patterns of religions‘ depictions before and after 9/11. Secularization is
considered a cherished ideal for the democracy and humanitarianism by the developed
world. Another objective of the study was to investigate and compare the prominence
attached to secular discourses and religious discourses.
This study was grounded in the concept of framing. Scheufele (1997)
discussed the process model of framing and described four key processes; frame
building, frame setting, individual-level processes of framing, and a feedback loop
that reflects the results. This study addressed two processes; frame building and frame
setting. Frame building was approached through filmmakers; starting from their
subject selection to the finished product in the form of documentary film. Frame
setting was studied through the institutions which uphold certain discourses at the
expense of others. Academy of Motion Pictures of Arts and Sciences is one of the
prestigious and esteemed institutions which are directly related to frame setting. That
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was why only those documentary films were studied which were either Oscar-
nominated or Oscar-winning.
The researcher selected thirteen Oscar-nominated and Oscar-winning
documentaries according to the criteria of selection from 1997 to 2006. Each
documentary served as a unit of study to measure the treatment given to religion
related contents. Among all the thirteen films during 1997 to 2006, four got Oscar. All
the four Oscar-winning documentaries fall in the category of before 9/11.
Interestingly, all the four depict Judaism and Jews. Documentary, ‗The Long Way
Home‘ (1997) revolves around the depiction of Jews‘ problems after the Holocaust.
The documentary got an Oscar. The second documentary that got an Oscar was ‗The
Last Days‘ (1998). The documentary narrates stories of five Holocaust survivors and
depicts agony and miseries of Jews. The third documentary that got an Oscar was
‗One Day in September‘ (1999) that depicts all the three religions portrayed in the
documentaries. The main focus of the documentary was to depict Jew hostages.
During the Munich Olympics 1972, Israeli team was detained by terrorists. The
terrorists were Muslims and the negotiating team mainly consisted of Christians and
Jews. The fourth documentary that got Oscar was ‗Into the Arms of Strangers: The
Stories of Kindertransport‘ (2000). The main focus of the film was to portray Jews as
victims of Nazis‘ atrocities. After 9/11, religion-related documentaries did not get any
Oscar.
The researcher analyzed the depiction of religions in all the thirteen films from
different facets. For the content analysis, both quantitative and qualitative approaches
were applied. Quantitative approach helped the researcher to measure prominence and
marginalization of different religions. This approach also facilitated the researcher to
evaluate associations, positive or negative, with the religions. The qualitative

305
approach helped the researcher to illustrate films at three levels; narrative structures,
religion-related discourses, and the modes of documentary applied in the film.
Muslims, Christians and Jews served as coders to eliminate biases and explain
religion-related contents.
The results of chi-square test showed that the religions and the levels of
prominence were associated. The value χ2(4) = 21.072, p = .000 was significant at α =
.001. There was a significant difference in the overall prominence given to Muslims
that was 29 as compared to Christians that was 130. Overall Muslims are
marginalized. However, there was no association of Muslims with the levels of
prominence before and after 9/11. As the results of chi-square test, the value χ2 (2)
=2.39, p = .303 was not significant at α = .05. The score of prominence for the
Christians was highest. The second stage demanded to further explore the scores of
variables that make ‗prominence‘ an index. Therefore, the followers were divided into
the categories of practicing and non-practicing to further explore their scores for on-
screen time, dialogue time, number of dialogues and type of shot used to depict them.
As the depiction of religions was studied from different perspectives, the
followers of religions were also observed for their association and depiction in pro-
social and anti-social behaviors. To find out the association between the non-
practicing followers of religions and the levels of pro-social behavior, chi-square test
was conducted. The value χ2 (4) = 39.86, p = .000 is significant at α = .001.
According to the results the non-practicing followers of religions and the levels of
pro-social behaviors were associated. Non-practicing Jews, Christians and Muslims
were depicted unvaryingly on the level of high pro-social behavior. Interestingly,
practicing Muslims got highest average score for their associations with pro-social
behaviors as compared to Jews and Christians. This was contrary to the findings of
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fiction film studies of Jack Shaheen(1984), Kaveh (2007), Edmund Ghareeb (1983),
El-Farra (1996), Michael Suleiman (2004) and Yasmeen Elayan (2005). Practicing
Christians got highest average score for anti-social behaviors as compared to Jews and
Muslims. Practicing Muslims and practicing Jews both did not get any coverage with
anti-social behaviors. The average score of pro-social and anti-social behaviors of the
followers showed similar patterns of depictions for Christians and Muslims. However,
Jews average score was high for pro-social behaviors. Most of the Jews depicted in
the Oscar-winning and Oscar-nominated documentaries appear to be Ashkenazis.
Pro-social and anti-social behaviors of the followers were also evaluated for
their gender. Overall average score showed more male followers with anti-social
behaviors as compared to female followers. The average score of male followers with
anti-social behaviors was 2.25 while there were no female followers found with anti-
social behaviors. Interestingly, female followers scored high for pro-social behaviors
as compared to male followers. The average score of female followers was 2.09 for
pro-social behaviors while male followers scored 1.8. Furthermore, the followers
were analyzed for their religions and behaviors. On a comparative scale of female
followers and pro-social behaviors across religions, more female Jews were depicted
with pro-social behaviors. On a comparative scale of male followers and pro-social
behaviors across religions, more male Christians were depicted with pro-social
behaviors.
As the literature review shows that different researchers have been analyzing
portrayal of religions in fiction films. Documentary films are not explored in depth for
their depiction of religions. The researcher found an opportunity to explore the
tradition of realism in the perspective of framing. Oscar documentaries have never
been deeply analyzed for their overall depiction of religions. Out of four processes of
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framing (Scheufele, 1997), two were explored including frame building and frame
setting. Frame building was further approached through frame amplification, frame
extension, frame transformation and frame bridging (Modigliani, 1989). Codign frame
in the qualitative analysis addresses frame amplification and frame extension through
non-diegetic sound, archive footage, viedo clippings, and mode type applied by the
filmmaker in supportive, challenging or neutral styles. The findings showed that all
the films depicting Judiaism carried supportive non-diegetic sound, supportive archive
footage, and supportive video clippings.
Dcoumentary films belong to the tradition of realism, however the framing
process suggests that the reality is constructed by different techniques of production.
White (1992) in his study explored the ideological influences on television content
stated, ―Rather, ideological analysis focuses on the systematic meanings and
contradictions embodied in textual practices. This includes the way familiar narrative,
visual, or generic structures orient our understanding of what we see and how they
naturalize the events and stories on television‖ (p. 173). This perspective helped the
researcher to evaluate what was recurrent and what was naturalized in the Oscar-
winning and Oscar-nominated documentaries. The findings indicated that Jews and
Judaism were receiving prominence and overall associated with positive image.
Documentary is claimed to describe the real and to tell the truth (Nicholas,
1991). Contrary to this many scholars believe that documentary film can be highly
manipulative (Bruzzi, 2000; Godmilow, 1997; Scott & White, 2003; Pramaggiore,
2005). This study addressed the later stance. Bordwell & Thompson (2004) described
modes as denoting the levels of filmmakers‘ interference. The findings strengthened
researcher‘s argument about the depictions of Jews. Filmmakers‘ interference for
films on Jews like ‗The Long Way Home,‘ ‗The Last Days,‘ ‗Into the Arms of
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Stranger,‘ ‗One Day in September,‘ ‗Prisoners of Paradise,‘ and ‗Promises‘ was high
as compared to the other films in the form of voice of authority, non-diegetic sound,
and archive footage use. The ‗coding frame‘ analysis showed the filmmakers‘ applied
frame amplification and frame extension in the above-mentioned films. On the other
hand, the films mainly depicting Christians and Muslims were dominantly constituted
through direct cinema mode and/or talking heads mode. Though, most of the times,
the archive footage was supportive to the statements of the participants and the
filmmakers‘ did not try to transform or bridge the frames. The films that got Oscar
were depicting positive image of the practicing and non-practicing Jews, irrespective
of their sects including Ashkenazi, Sephardic, Mizrahi etc and fall in pre 9/11 period.
This research explored the ideological influences of secularization as a grand
narrative and cherished ideal upon the contents of religion-related Oscar documentary
films. Findings suggested that the selective processes were involved for the aspiration
of secularization as an ideal. Promotion of secularization was very evident in
Christianity related films and the practicing Christians were highly associated with the
negative image. As two films were entirely depicting priests as pedophile. Corruption
of church, and evil practices of church related people was the main discourse of the
two films; ‗Twist of Faith,‘ and ‗Deliver Us From Evil.‘ Another film ‗The Jesus
Camp‘ also depicted practicing Christians as rebellions, therefore a challenge to
modern society. The above mentioned three films were not significant on the
interference scale as the dominant modes were talking heads and direct cinema. The
two films that mainly depicted Muslims scored very low at the interference level. The
dominant mode in the films ‗My Country, My Country,‘ and ‗Iraq in Fragments‘ was
direct cinema that depicted filmmakers as less manipulative.

309
The research explored that ideology of secularization is dominantly prevailing.
As the results reflected that the films promoting secularization won many awards by
different organizations. The film ‗Promises‘ won twelve awards in different festivals
that was the maximum number of awards among all the films under study. The second
film was ‗Iraq in Fragments‘ with ten different awards and third was ‗Darwin‘s
Nightmare‘ with nine different awards. There were two films which did not win any
other award. The films included ‗The Last Days,‘ and ‗Twist of Faith.‘ The film that
got maximum nominations was ‗One Day in September‘ with five nominations. The
findings revealed that the films dealing with the contemporary issues of Palestine and
Iraq were upheld by different organizations in the form of awards. Both films depicted
confrontation grounded in politics and religion. Researcher‘s contention is that secular
and religious discourses have always been a political domain. However, faith based
humanitarianism is a challenge to secular and/or sacred dichotomy because religion is
still deeply immersed in the framework of secular humanism.
The researcher tested ‗framing‘ for the secularization of religions and found
archive footage, video clippings, non-diegetic sound, modes and titles of the chapters
of DVD as used for frame amplification and frame extension. The findings further
helped to test two framing processes; frame building and frame setting. Awards by
different organizations reflected that there was a pattern of pushing religion from
public to private sphere. Therefore, it can be concluded that secularization, from the
perspective of Jose Casanova, is at increase. This study also suggests that Oscar-
winning and Oscar-nominated documentaries produced by different filmmakers may
perform a kind of ritual function to integrate the micro or individual‘s experiences
into a framework and (re)production of stereotypical images at global level. Thus, the
depiction of any religion related to a particular place, that carries a political

310
perspective, presents the ideological foundation to perceive other followers in the
similar structure.
The study is unique as it explores the depiction of religions in Oscar
documentary films. The uniqueness was challenging and demanded experimentation.
This study could be more promising by analyzing media frames as the independent
variable and audience frames as the dependent variable. A combination of content
analysis and survey research can facilitate to explore the contingency of media frames
and audience frames. The researcher could not cover this aspect due to time shortage.
This study explores framing on the production end therefore, it is
recommended to conduct research on the reception end. As Scheufele (1997)
discussed the process model of framing and described four key processes; frame
building, frame setting, individual-level processes of framing, and a feedback loop
that reflects the results. This study addressed only two processes; frame building and
frame setting. It is suggested for the future research to cover the other two left out
processes; individual-level processes and feedback loop through survey research. In
this study, framing research is applied as sociological or macroscopic approach (Pan
& Kosicki, 1993). However, psychological or microscopic approach (Fischer &
Johnson, 1986) could not be applied due to certain limitations. Therefore it is
suggested that future research can take up this agenda and consolidate the findings.
311
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http://mongoluls.net/mongolian-religion/religiondef.shtml
Weber, R. P. (1990). Basic content analysis. California: Sage Publications.
Werblowsky, R. J. Z. (2008). Christianity. Retrieved May 25, 2012, from
http://www.jewishvirtuallibrary.org/jsource/judaica/ejud_0002_0004_0_04287
.html
Zakaria, F. (2004). The future of freedom illiberal democracy at home and abroad.
New York: Norton and Company.
329
Annexure I
List of Oscar-nominated and Oscar-winning documentary films
Accessed from Academy Awards website

http://awardsdatabase.oscars.org/ampas_awards/DisplayMain.jsp?curTime=1281495646298
1997 (70th)
Ayn Rand: A Sense of Life
DOCUMENTARY (Feature) -- Michael Paxton
Colors Straight Up
DOCUMENTARY (Feature) -- Michèle Ohayon, Julia Schachter
4 Little Girls
DOCUMENTARY (Feature) -- Spike Lee, Sam Pollard
The Long Way Home

* DOCUMENTARY (Feature) -- Rabbi Marvin Hier, Richard Trank
Waco: The Rules of Engagement

DOCUMENTARY (Feature) -- Dan Gifford, William Gazecki
1998 (71st)
Dancemaker
DOCUMENTARY (Feature) -- Matthew Diamond, Jerry Kupfer
The Farm: Angola, U.S.A.

DOCUMENTARY (Feature) -- Jonathan Stack, Liz Garbus
The Last Days

* DOCUMENTARY (Feature) -- James Moll, Ken Lipper
Lenny Bruce: Swear to Tell the Truth

DOCUMENTARY (Feature) -- Robert B. Weide
Regret to Inform
DOCUMENTARY (Feature) -- Barbara Sonneborn, Janet Cole
1999 (72nd)
Buena Vista Social Club
DOCUMENTARY (Feature) -- Wim Wenders, Ulrich Felsberg
Genghis Blues
DOCUMENTARY (Feature) -- Roko Belic, Adrian Belic
330
On the Ropes
DOCUMENTARY (Feature) -- Nanette Burstein, Brett Morgen
One Day in September

* DOCUMENTARY (Feature) -- Arthur Cohn, Kevin Macdonald
Speaking in Strings
DOCUMENTARY (Feature) -- Paola di Florio, Lilibet Foster
2000 (73rd)
Into the Arms of Strangers: Stories of the Kindertransport
* DOCUMENTARY (Feature) -- Mark Jonathan Harris, Deborah Oppenheimer
Legacy
DOCUMENTARY (Feature) -- Tod Lending
Long Night's Journey into Day

DOCUMENTARY (Feature) -- Frances Reid, Deborah Hoffmann
Scottsboro: An American Tragedy

DOCUMENTARY (Feature) -- Barak Goodman, Daniel Anker
Sound and Fury

DOCUMENTARY (Feature) -- Josh Aronson, Roger Weisberg
2001 (74th)
Children Underground
DOCUMENTARY (Feature) -- Edet Belzberg
LaLee's Kin: The Legacy of Cotton

DOCUMENTARY (Feature) -- Susan Froemke, Deborah Dickson
Murder on a Sunday Morning

* DOCUMENTARY (Feature) -- Jean-Xavier de Lestrade, Denis Poncet
Promises
DOCUMENTARY (Feature) -- Justine Shapiro, B.Z. Goldberg
War Photographer
DOCUMENTARY (Feature) -- Christian Frei
2002 (75th)
Bowling for Columbine
* DOCUMENTARY (Feature) -- Michael Moore, Michael Donovan
Daughter from Danang

DOCUMENTARY (Feature) -- Gail Dolgin, Vicente Franco
Prisoner of Paradise
DOCUMENTARY (Feature) -- Malcolm Clarke, Stuart Sender
331
Spellbound
DOCUMENTARY (Feature) -- Jeffrey Blitz, Sean Welch
Winged Migration [aka: Le Peuple migrateur]

DOCUMENTARY (Feature) -- Jacques Perrin
2003 (76th)
Balseros
DOCUMENTARY (Feature) -- Carlos Bosch and Josep Maria Domenech
Capturing the Friedmans

DOCUMENTARY (Feature) -- Andrew Jarecki and Marc Smerling
The Fog of War

* DOCUMENTARY (Feature) -- Errol Morris and Michael Williams
My Architect
DOCUMENTARY (Feature) -- Nathaniel Kahn and Susan R. Behr
The Weather Underground

DOCUMENTARY (Feature) -- Sam Green and Bill Siegel
2004 (77th)
Born into Brothels
* DOCUMENTARY (Feature) -- Ross Kauffman and Zana Briski
The Story of the Weeping Camel

DOCUMENTARY (Feature) -- Luigi Falorni and Byambasuren Davaa
Super Size Me
DOCUMENTARY (Feature) -- Morgan Spurlock
Tupac: Resurrection
DOCUMENTARY (Feature) -- Lauren Lazin and Karolyn Ali
Twist of Faith
DOCUMENTARY (Feature) -- Kirby Dick and Eddie Schmidt
2005 (78th)
Darwin's Nightmare
DOCUMENTARY (Feature) -- Hubert Sauper
Enron: The Smartest Guys in the Room

DOCUMENTARY (Feature) -- Alex Gibney and Jason Kliot
332
March of the Penguins

* DOCUMENTARY (Feature) -- Luc Jacquet and Yves Darondeau
Murderball
DOCUMENTARY (Feature) -- Henry-Alex Rubin and Dana Adam Shapiro
Street Fight
DOCUMENTARY (Feature) -- Marshall Curry
2006 (79th)
Deliver Us from Evil
DOCUMENTARY (Feature) -- Amy Berg and Frank Donner
An Inconvenient Truth
* DOCUMENTARY (Feature) -- Davis Guggenheim
Iraq in Fragments
DOCUMENTARY (Feature) -- James Longley and John Sinno
Jesus Camp
DOCUMENTARY (Feature) -- Heidi Ewing and Rachel Grady
My Country, My Country
DOCUMENTARY (Feature) -- Laura Poitras and Jocelyn Glatzer
333
Annexure II
Coding Frame for the Qualitative Analysis
Narrative Structures
1- Thematic structures 2- Schematic structures
a. chapter title b. duration a. juxtaposing b. sequencing c. non-diegetic
sounds
Scene-setting
a. participants b. themes c. conversation (pro-religion, against-religion,
neutral)
Dialogues in modes
a. Voice of authority mode b. Talking Heads c. Direct Cinema d. Reflexive
(No. of dialogues) (No. of dialogues) (No. of dialogues) (No. of
dialogues)
334
Annexure III
Grand Table of Dialogues and Modes
Films Year Film ND VOA TH DC Total Mode Mode Mode

Time Sound (D) (D) (D) (D) VOA(T) TH(T) DC(T)
Time
Waco: The 1997 2:15:56 1:27:05 116 482 865 1420 0:10:10 0:30:14 1:35:00
Rules of (N)
Engagement
The Long 1997 1:59:42 46:15 254 257 31 542 0:32:23 0:55:00 0:27:20
Way Home (W)
The Last 1998 1:26:35 45.58 16 715 Nil 731 0:02:00 1:12:16 0:08:27
Days (W)
One Day in 1999 01.41.32 01.06.56 87 484 5 635 0:05:50 0:14:19 1:20:21
September (W)
Into The 2000 1:57:00 33:48 60 898 37 995 0:10:00 1:24:00 0:20:00
Arms of (W)
Strangers
The 2001 1:42:10 31:23 37 497 231 706 0:04:10 0:32:00 1:05:50
Promises (N)
Prisoners of 2002 01.34.48 01.08.05 349 253 Nil 602 0:40:43 0:33:27 0:19:00
Paradise (N)
Twist of 2004 01:30:29 07:23 10 522 384 913 Nil 0:26:08 0:59:40
Faith (N)
Darwin‘s 2005 01.40.30 07.55 18 654 86 759 0:02:50 1:18:14 0:17:00
Nightmare (N)
The Jesus 2006 01.24.29 45.42 14 84 696 794 0:01:42 0:08:23 1:10:45
Camp (N)
Deliver Us 2006 01.42.16 02:45 11 893 37 930 0:01:25 1:35:55 0:02:35

From Evil (N)
Iraq in 2006 01:30:50 43:56 Nil 324 417 741 Nil 05:10 1:21:10
Fragments (N)
My Country, 2006 1:59:42 14.52 30 49 867 940 0:02:10 0:3:23 1:49:53
My Country (N)
335
Annexure IV
Sample of Coding for Prominence
(Documentary Film: The Last Days)
Chapter Character Duration Number On-screen Character Religion Camera Shots

# of of Duration (M/F)
Dialogue Dialogues
1 Bill Basch 1m 6s 9 29s M J Mid shot

(panning
through
Irene 21s 6 10s F J train).
Izisblatt Long shots (
hand held
camera, high
angle, ken
28s 8 19s F J
burn’s effect)
Rene’e
Mid shot
Firestone
44s 6 10s F J
Long shot,
Alice Lok
Mid shot.
Canana
Tom 29s 3 9s M J
Lantos Long shot,
Full shot
(dolly, tilt
down)
336
Annexure V
Sample of Coding for Mode Selection and Duration
Character Duration Mode

Bill Basch 1:06 Talking Heads
Irene Izisblatt 00:22 Talking Heads
Rene‘e Firestone 00:28 Talking Heads
Alice Lok Canana 00:44 Talking Heads
Tom Lantos 00:24 Talking Heads
Narrator 1 00:05 Direct Cinema

337
Narrator 2 00:09 Direct Cinema
Irene 00:25 Talking Heads
Renee 00:52 Talking Heads
Alice 00:09 Talking Heads
Tom 00:58 Talking Heads
Dr Randolph Brahan 00:11 Talking Heads
Tom 1:00 Direct Cinema
Irene 00:20 Talking Heads

338
Annexure VI
Sample of Coding for Anti-social and Pro-social Behaviors
S. Characters Gender Religion Practicing/ Pro- Social Behavior Anti-Social Behavior

No. Non-
Practicing Yes/No Description Yes/No Description
1. Bill Basch M J N.P Y C,D,E N -
2. Irene F J N.P Y C,D,E N -

Zisblatt
3. Renee F J N.P Y C,D,E N -

Firestone
4. Alice Lok F J N.P Y C,D,E N -

Cahana
5. Tom M J N.P Y C,D,E N -

Lantos
6. Dr.
Randolph
Braham M J N.P Y D N -
7. Dr. Hans M C N.P Y D N -

Munch
8. Dario M J N.P Y C,D,E N -

Gabbai
9. Warren M - N.P Y C,E N -

Dunn
10. Dr. Paul M - N.P Y D N -

Park
338
INDEX
A B
Academy 38-40, 311
Academy Awards 23, 39-40, 82, 194, 256, 311, 322 Babylon 41, 292, 300
Academy of Motion Picture Arts and Sciences (AMPAS) Baghdad 129-30, 133, 136, 140-1, 144
38-9 Barnouw 22, 27, 29, 33, 312
actuality films 19 BATF (Bureau of Alcohol, Tobacco and
AFA (Art Films of Asia) 34 Firearms) 286-7, 291, 296
Africa 178-9, 253 Becky 116, 119-20, 125
Africans 176, 178-9 behaviors 13, 15, 80, 87-8, 95, 306
Ahmed 10, 13, 222, 224, 311 Beit El 211-12
AIDS 171, 174 beliefs 1, 7, 12, 48, 52, 62, 70, 78, 117,
Alexander 230-2, 235-6, 238 147, 265, 286-8, 300
Alice 256, 258-63, 265, 267-8 Berg, Amy 152, 169
Allenora 195-6 Berlin 34, 194-5, 235, 243
America 12, 30, 69, 114-15, 117, 120, 122-7, 129- Bertha 230-1, 236-7
31, 133, 139-41, 143-9, 153, 192, 268-9, 279-80 Bible 45, 52, 117-18, 120, 122-3, 163,
American media 56, 318 288, 292, 300
American religion 55 Bill 256, 260, 265-6, 268-70
American soldiers 130, 136, 266 Bishop Guilfoyle 155, 158
AMPAS (Academy of Motion Picture Arts and Sciences) Bishop Hoffman 184-7
38-9 bishops 158, 160-2, 164, 166-7, 184-6
Anderson, Jeff 159-60, 163-4, 167, 184 Board of Governors 40-1
Anglicans 45, 47 bomb blasts 132, 136-7, 207
Angola 175, 178-9 Branch Davidian Survivors 289, 291
Ankie 242-5, 247, 249, 252 Branch Davidians 286-91, 294-8
Ankie Spitzer 241-2 British 29, 278-81
anti-social behaviors 80-1, 87, 95, 107-8, 305-6 British government 30, 274
Antonio 114, 117-18, 125 Bruzzi 15, 112, 307, 313
AOL Time Warner 53 Bryant 62, 313
Arab-Americans 70 Budapest 256, 260, 265
Arab/Arab-American characters 71 Bureau of Alcohol, Tobacco and Firearms
Arab Muslims 63, 68, 71 (BATF) 286-7, 291, 296
Arabs 44, 63, 68-9, 71, 133, 148, 208, 212-13, 219, Byrnes, James 278-9
221-4, 272-3, 282-3, 315, 318, 328
archive footage 194, 198-201, 203-5, 228-32, 234-6, C
239, 246, 248, 250-4, 261, 265-7, 270-4, 276-7,
279-82, 307-9 CAIR (Council on American-Islamic
Arms of Strangers 84, 227, 239-40, 304 Relations) 63
Art Films of Asia (AFA) 34 camera 4, 18-19, 21-2, 26, 31, 68, 84,
Ashkenazim 44-45, 207 291, 297
assertions 24, 26 Camp, Jesus 83, 114, 126-7, 308
association 96, 104, 106, 108, 111, 304-5 camps 116, 119-20, 127, 154, 210-11,
ATF 287, 289-96, 299-300 235, 242, 261-2, 266-7, 269, 274-7
audience 4, 9, 11, 13, 15-18, 21, 23, 59, 65-7, 70, refugee 210-11, 274
84, 93, 146, 196, 200 Cantor 54-5, 313
Auschwitz 204, 235, 237, 256, 260, 262-4, 267 categories 1, 14, 18, 23, 25, 30, 71, 79,
Austria 7, 227-9, 283 85-8, 95, 99-100, 103, 113, 193-4,
authority mode 24-5, 93, 115, 131-3, 173-4, 176-7, 304-5
184, 194-205, 215-16, 228-30, 276-81, 283-4, Catholic 45, 155-6, 162, 186, 190
287-9, 294-5, 297-301 Catholic Church 46, 152, 156, 158, 160,
average dialogue time 86, 98-9 164, 166, 168-9, 182, 184-7, 189-90,
average on-screen time 97-8 192-3
average score 107, 306 Cavanaugh, James 292-3
Average scores 97-8, 100-1, 105, 107-9 CDA (Critical discourse analysis) 88-9,
awards 30, 34, 38-9, 82, 127, 152, 171, 226, 240-1, 316
255, 302, 308-9 celibacy 162, 166-7
CFSI (Children‘s Film Society, India) 33
Chapter titles 139, 205, 252, 254
339
characters 6, 15, 63-4, 66, 69, 74, 79, 83, 85, 87,
140, 196, 242, 244 D
chi-square test 96, 104, 106, 108, 111, 305
child abuse 157, 182, 184, 189, 288, 291 Dachau 243, 265, 267
children 33, 63-4, 114-16, 118-22, 124-5, 147, 152- Daniel 207-8, 213-16, 218-24
4, 162, 166, 182-3, 215-16, 223-4, 230-9, 259- data, quantitative 80, 82, 95
61, 288-9 David 243, 275, 289, 291, 314
autobiographical films of 64, 321 Davidian survivors 288, 291, 298
Children‘s Film Society, India (CFSI) 33 Davidians 286-9, 291-300
Christ 45, 114, 117, 119, 157, 161, 177 Degroot, Jane 155, 158
Christianity 45-7, 55, 58, 66, 88, 105, 109, 111-12, DeGuerin, Dick 289-90, 292, 294-5
118-19, 122-3, 126, 166, 174, 179, 316 Deheishe Refugee Camp 209-10, 215-17,
Christianity and Islam 9, 51, 88, 100, 104-5, 110, 222
179 democracy 12, 70, 125, 129-30, 144,
Christians 45-6, 69, 88, 96-9, 101, 103-6, 108-9, 146-9, 303, 314
111, 116-18, 122-3, 126, 133, 154-5, 256-7, demonstration 120, 146
304-6 Dennis 182-3, 191-2, 314
depiction of 104, 127 Dennis O 183-4, 187-9
female 110 depict Jews aspiration 277
male 108, 110-11, 306 depict Jews praying 215
Christians and Muslims 96-8, 100-1, 103, 106-7, depict Tony 188, 190
111, 305-6, 308 depiction 5, 9, 51, 63, 71, 78-9, 81, 90,
church 46-7, 67-8, 114, 118, 120-2, 124, 153-6, 92, 95, 101-4, 113, 169, 192, 303
158-61, 163-4, 166-9, 182, 185-91, 256, 308, Depiction of religions 74
316 depicts 75-6, 144, 153-5, 158-9, 161-7,
church hierarchy 153-5, 160, 187 174-5, 178, 181-3, 189, 195, 202-5,
cinema 3, 15, 17-18, 22-3, 30, 32-3, 58-61, 65, 197, 208-12, 214-16, 236-7, 248-9
217, 313-14, 318 depicts Jews migration 280
direct 22, 93, 111, 116-20, 128, 132, 135, 141-8, depicts Muslims 210, 218
168-9, 171-3, 177, 185, 221-3, 245-8, 308 deposition 158, 160-1, 186
clergy 157, 159, 164, 168-9 Deputy Chief Producer of Films Division
clergymen 158-9, 162-3, 182 34
Clinton 41, 291, 295, 298 Devil 114, 116, 119, 128
Clive Doyle 291, 294-5, 297 DFF (Directorate of Film Festivals) 33
close-up 86, 101, 103 Dialogue Mode 127, 139, 150, 169, 180,
Coble, Howard 286-7, 289 193, 206, 226, 239, 254, 271, 285,
coders 87-8, 94, 305 301
Comes, Tony 181-3 dialogue time 79, 86, 98-9, 105, 305
Commercial fiction films 16 Diaspora, second 41
committee 68, 277, 282 differences 81, 92, 95, 103, 141-2, 144,
communion 46, 158, 190 147, 150, 298
comparison 5, 95, 97-8, 100-1, 105, 107, 109, 203 Dimond 172, 174-5, 177
complaints 72, 158-9 diocese 164, 185, 187-8, 190, 192
concentration camps 194, 236-7, 256, 258, 265-6, direct cinema depicts 141, 143
268, 273-4 direct cinema mode 26, 115-26, 129-34,
confession 152-4, 158, 164, 189 136-8, 142-3, 146-50, 175-6, 178-9,
conflict 25, 42, 45, 58, 118, 158, 207, 209, 224-5, 181-4, 186-9, 215-18, 220-1, 223-5,
286, 292, 322 287-90, 297-301
Congress 123, 268, 293 Directorate of Film Festivals (DFF) 33
Conrsd Ahlers 250, 252 discourses 1, 6, 11, 14, 25, 51, 55, 57-9,
content analysis 63, 78, 80, 304, 310, 320 62-3, 70, 74, 76-7, 79-81, 88-90, 92,
context 3, 74, 76, 80, 88, 90, 118, 221, 254, 258, 95, 115, 117-22, 124-25, 129, 138,
261, 264-5, 267, 270, 303 146, 148, 153, 155, 158, 163, 167-
Council on American-Islamic Relations (CAIR) 63 68, 179, 183-85, 188-93, 195, 199,
coverage 5, 11, 30, 56, 63, 76, 106-7, 109, 130, 201, 205, 208, 211-12, 214-15, 218,
245, 249-50, 291, 306 222-24, 228-32, 236-39, 245, 249,
creationism 117-18 254, 257-58, 263-65, 268-69, 272-
credits 36, 126, 138, 169, 179, 205, 225, 239, 270, 74, 276, 278-79, 283-84, 287-88,
284 290-91, 295-97, 301, 303, 308-9,
Curran 50, 314 312, 315-17, 324
Czechoslovakia 198, 227, 229 Division 32, 35, 327
340
documentaries 3-9, 12-24, 26-8, 30-2, 34-5, 37-8, FBI (Federal Bureau of Investigation)
64-7, 82-3, 85, 112-13, 129, 152, 207, 304, 323 286-7, 289, 291-2, 295-300
feature-length 3 feature films 3, 35
mode of 25-7 Federal Bureau of Investigation see FBI
modes of 24, 92-3, 112-13, 126, 270, 304 Felix 45-7, 316
produced 31, 37 female followers 81, 108, 110, 306
religion-related 304 Filler 64-5
documentaries-in-india.html 29, 327 Film Advisory Board see FAB
documentary depicts 272, 286 Film Division 323, 327
Documentary Film and Filmmaking 3, 320 film industry 36-7, 39, 72
documentary filmmakers 3, 14-17, 21, 24, 26, 75-6, film production 32, 35-6
92, 112 film studies 3, 16, 18, 319-20, 322
documentary filmmaking 20, 25, 27, 36, 76 Filmmaker William Gazecki 291, 301
documentary films 3-4, 8-9, 11, 13-16, 18-22, 24, filmmakers 15-18, 20-2, 24-7, 75-6, 78-
27, 29, 73, 80-1, 83-5, 89-90, 112-13, 303, 306- 82, 91-4, 126-8, 139-41, 147-50,
7 205-7, 225-6, 239-40, 254, 300-1,
Documentary Unit of India (DUI) 34 307-9
dominant mode 116-18, 132, 143, 200, 202, 258, films 2-3, 14-16, 27-36, 60-8, 70-4, 83-
284, 287, 308 4, 88-91, 138-40, 149-52, 169-71,
Donnelley 187-8 192-5, 203-7, 239-41, 270-2, 307-9
Doyle, Tom 156, 159-60, 163-4, 166, 268 autobiographical 64-5
DPs 275-7 documentary feature 152, 194, 256
DUI (Documentary Unit of India) 34 factual 27-8
DVD 15, 77, 90-1, 139, 171, 240-1, 309 fiction 5, 15, 69, 306
formalist 18
E non-fiction 3, 16, 312
re-enactment 19
East Jerusalem 208, 218-19 Films Division 32-5
Eastern Orthodox Churches 46 Fischer, Becky 114-16, 118-22, 124-6
Ecole Technique de Photographie et de Fischermann 203-4
Cinematographie (ETPC) 29 flagellations 144-5
editing 14, 17-19, 25, 28, 126 FLIR 297, 300
education, religious 13, 67-8, 118, 142, 220 followers 5-6, 9-11, 42, 48, 79-82, 85-6,
Eeriest Israel 273, 275, 277, 284 88, 94-6, 103-4, 109-10, 143, 256-7,
elections 124, 129-31, 133-5, 137-8, 144-5, 148, 263, 303, 305-6
275 followers of religions 5, 85, 87, 95, 111,
elements, religious 114, 123 305
England 57, 227, 229-32, 236, 238, 274, 283 footage 94, 129, 140, 153, 156, 159,
Essenes 42, 328 162, 168, 181, 207-8, 214-15, 220,
ETPC (Ecole Technique de Photographie et de 229, 266, 275
Cinematographie) 29 formalism 18-19, 54
Europe 69, 171-2, 175-6, 178, 194, 198, 202, 205, fragments 64-5, 84, 140, 150, 298, 308-9
235, 281 frame amplification 76-7, 150, 301, 306-
European Jews 43, 194 7, 309
Evangelical Christians 114, 117, 120-3, 125, 127 frame building 76, 79, 91, 303, 306, 309-
Evangelicals 114-18, 120, 122-6 10
Exiled Jews 197-8 frame extension 76-7, 93, 150, 271, 301,
307-9
F frame setting 76, 225, 303, 306, 309-10
frame transformation 76-7, 93, 307
FAB (Film Advisory Board) 29-31 frames 51, 53, 57, 70, 74-7, 84, 93, 112,
Fairclough 88-9, 316 126, 140, 142, 170, 183, 190, 205,
faith 11-12, 46-8, 58, 66, 70-1, 84, 136, 152, 166, 225, 284, 306-8
181, 193, 308-9, 311 framing 8, 27, 51, 54, 74-6, 79, 91, 93,
Fallujah 131, 138 258, 303, 306-7, 309-10, 315-16,
famine 175-7 324, 326
Faraj 210-13, 216-18, 221-4 framing processes 76, 306-7, 309
Father John Shiffler 186 freedom 3, 7, 10, 27, 123, 125, 135, 144-
Father Stanberry 187-8 6, 149, 202, 218, 267, 290, 300
Father Thomas 167-8 Freeman, Morgan 272-3
Father Tom Doyle 153-4, 157, 160, 163-4 Friedman 52-3, 317
341
Fuchel, Kurt 228, 232-4, 238 immigration 229-31, 234

incident 63, 132, 134, 136, 189, 245,
G 254, 293, 296, 298-301
India 29-30, 32-6, 46, 126, 312, 318
Gail, Mary 156, 161, 166-7 Indian cinema 27, 33, 35
Galtung 11, 317, 319 Indian documentary 32, 34, 318, 324
games 216, 248-50 Indian films 120, 312
Gamson 76, 317 Information Films of India‘ see IFI
gas chambers 204, 261-2, 264, 282 Inge 231, 236-8
gender 5, 79-80, 109-10, 306 INP 30-1
genre 14-15, 28, 58, 62, 65, 67 interference 5, 93-4, 111, 115, 205, 307
German government 248-50, 252-3 interference level 93, 111, 127, 139, 150,
German Jews 197, 231 169, 180, 192-3, 206, 225-6, 239-40,
Gerron 195-201, 203-5 254, 271, 284-5, 301
Gerron, Kurt 194-5, 199-200, 203 International Olympic Committee 248-9
ghettos 256, 259 interviews 16, 26, 140, 169, 179, 195-7,
God 3, 43-5, 47, 115, 118-26, 136, 149, 154, 156-7, 227, 256, 272
190-1, 211-14, 219, 269, 287-8, 300 Iraq 44, 84, 129, 131-2, 136-45, 147,
Goffman, 74-75, 318 149-50, 309, 311
Goldberg 207, 209-16, 218-22, 225 Iraqi children 131, 143
Grady 152-5, 158-65, 168 Iraqi Islamic Party 135, 138
Gray, Dennis 181-2 Iraqi people 134-5
Grey, Dennis 181-5, 188-9, 191-2 Iraqis 129, 132, 134, 137-40, 144-6, 149
Ireland 153, 158, 162, 164-5
H Irene 256-63, 265-9
Islam 12, 44, 47-9, 55-8, 63, 68-73, 94,
Hagana 276, 278 109, 111-12, 116, 128, 130, 147,
Haggard 123-4 179, 311-12
hand grenades 245, 290, 293 Islamic Party 134
Hans Jochen Vogel 249-50, 252-3 Israel 41, 43-5, 72, 116, 128, 146, 208,
Hebrew 41, 44, 222-3 210-13, 217-20, 222, 225, 242-3,
Hebrew word 43-4, 278, 280 246, 272-3, 283-4
Hedy 229-31, 235, 237-8 Israeli Jews 44, 213
Heyman, Eva 231, 233 Israeli team 243, 245, 304
highlights 1, 17, 21, 50, 125, 146-7, 152, 159, 167, Israelis 207, 209-10, 213, 216, 219, 222-
174, 184, 188-9, 215-16, 267-8, 299-300 4, 244, 247-8, 253
historian 62, 153, 157, 160, 257
history 6, 27, 29-30, 37-42, 54, 73, 164, 167, 178, J
211, 241, 269, 276, 312-13, 322-3
Hitler 194, 196, 198-9, 202-3, 205, 228, 239, 256, Jack 228-30, 234, 294
262-3, 269, 276, 280, 283 Jamal 242-4, 248-53
Holland 197-8 Jennings, Peter 246-8, 250-1
Hollywood 30, 58-9, 63, 66, 68, 197-8, 318, 321 Jerusalem 207-9, 212, 214-15, 218-19,
Hollywood Films 63, 72, 326 273
holocaust 64-5, 213, 219-20, 239, 256, 267-70, 272, Jesus 42, 45, 47, 63, 114, 116, 118-21,
275-6, 284, 304 168, 288
holocaust survivors 64-5, 227, 256-7, 266-8, 270, Jew and Muslim children 221, 223, 225
272-3, 280 Jew children 215, 217, 221-3, 228, 239
homeland 218, 273, 276, 278, 280, 284 Jew participants 195, 264
hostages 245-6, 248-53 Jew survivors 237-8, 268
Howard 158-60, 167 Jewish 55, 233, 257, 259, 282
Hungarian 257, 263 Jewish Brigade 274-5
Hungarian Jews 258, 262 Jewish children 222, 224, 228
Jewish Law 42-3
I Jewish state 281-3
Jewish state in Palestine 218, 277, 283
ideological 53, 57, 62, 66, 81 Jews 41-5, 54-5, 64-5, 96-101, 103-6,
ideology 12, 20, 22, 59-62, 70, 89, 308, 322 194-205, 207-9, 211-14, 217-25,
IFI (Information Films of India‘) 30-1, 34 228-9, 234-6, 256-68, 272-8, 280-5,
images 4-5, 10, 15, 17, 22-6, 58, 60, 64, 69, 80, 83, 304-7
148, 159-60, 194, 205 depict 101, 194
342
depiction of 103-4, 111, 304 liberators 146, 148, 266

female 110, 306 light 11, 17-18, 24, 26-7, 42, 73, 76, 78,
male 108, 110 80, 90-1, 118, 140, 142
million 41, 273 literature review 5, 50-1, 73, 80, 306
miseries of 239, 254, 260, 267, 304 London 31, 60, 230, 233, 281, 311, 313-
religious 44, 214 19, 322-6
scene depicts 220 Long shots 86, 102, 266
thousand 274-5, 279 Long Way Home 84, 239, 272, 285, 304,
tragedy of 260-1, 263, 266-7, 274 307
Jews and Muslims 223-5, 306 Lore Segal 228-32, 234-5, 238
Jews children 208 Lorraine 228-30, 234, 236-8
Jews killings 219, 279 Lory Cahn 227, 231, 235, 237
Jews of DP camps 275, 277 Loughlin 183, 187-9
Jews of Theresienstadt 201, 204
Jews praying 209, 214 M
Jews survivors 273, 280
Jews transportation 259-60 macro level 6, 55, 74
Jiyono, Ann 153, 158, 163-5, 168 Mahmoud 147-9, 208-9, 212-14, 217-19,
Jiyonos 153, 156-7, 160, 162, 164, 167-8 221-2, 224
Jiyonos family 162-3, 166 Mahony 158-61, 164-5
Jonathan 174, 177 Mahony, Roger 158, 160
Journal of Religion and Film 321-2, 324 male followers 81, 108-9, 111, 306
journalists 75-6, 210, 218, 282 male followers of Christianity 109, 111
Judaism 9, 41, 43, 47, 51, 60, 82, 100, 104-5, 109- male followers of Islam 109, 111
11, 257, 277, 307, 317, 320 Male followers of Islam 109, 112
Juxtaposing of dialogues 165 Male followers of Judaism 109, 111
Juxtaposing of modes 218, 220 male followers of religions 108
Juxtaposing of participants 263 Manly, John 156-7, 160-1, 164
Juxtaposing of scenes 142, 145-6 Margil 201, 203-4
juxtapositions 26-7, 124, 127, 168, 187, 208, 214-15 Mariam 232-3
media 9, 11-13, 50-1, 53-7, 59, 63, 70-5,
K 245, 249-50, 286-7, 291, 293, 314-
15, 320-1, 325-6
Kamela Shapegha 195-6, 199 mass 2, 50-1, 72, 318-19
Karachi 36-7 role of 50, 245
kids 116, 119-25, 158, 181, 221 media companies 53
killings 52, 129, 131, 144, 146, 207, 220, 224, 263, media contents 50-1, 54, 56, 69, 74, 326
287, 291-2, 294, 299 media depictions 56, 63
Kindertransport 84, 230-1, 239-40, 304 media discourse 312, 316-17
Koresh 287, 289-91, 294-6, 299-300 media frames 51, 74, 76, 310
Koresh, David 164, 286-90, 292, 294, 296, 299 medium, hot 59-60
Kurdistan 132, 147 Medium shots 102, 195
Kurds 133, 147-9 Middle East 6, 41, 44-5, 69-70, 129-30,
Kurt 227, 232-3, 238 137, 139
MIFF (Mumbai International Films Festival)
L 35
military service 9, 220
Lahore 36-8, 311-13, 319, 321, 323, 325 Ministry of Information and Broadcasting
Lake Victoria 171, 173, 176 32-3
Lance, Robby 195-6 Mir, Ezra 30-1, 34
Lantos, Tom 256, 286, 289 mission 119-20, 126, 128, 252
Last Days 84, 239, 256, 271, 304, 307, 309 missionaries, title depicts 154
Lau, Israel 273-5 Mitchell 181-2
Lebanon 242, 244 moderate 96, 103, 105-6, 108-11, 147
levels 2, 44, 55, 74, 76, 84, 86, 89-90, 93, 105, 107, moderate level 105-7, 109-11
109-12, 135, 142, 168 modes 24-7, 67, 76, 92-4, 112-13, 125,
high 109-10 127, 139, 168-9, 179, 199, 205, 215-
low 87, 94, 110 16, 218-20, 273
second 91-2 particular 92-3, 113
Levi 64-5, 117-18, 120-2, 124, 321 Moishe 211-12, 217-22, 224
liberation 210, 267, 269, 273-5 molestation 155-6, 158, 162, 168
343
Monsignor Cain 156, 159 46, 247-255, 257-85, 287-90, 292,

Morgan 274, 277-8, 282-3 295-6, 298-300, 302, 307-9
motion pictures 38, 40, 54, 67, 303, 322 Noronha 31-2, 34, 324
movement, religious 43, 49, 127 North Carolina 286, 288
movies 23, 36, 59, 62, 66-8, 71, 189, 328
hollywood 63, 68, 70, 313, 315 O
Mumbai International Films Festival (MIFF) 35
Munich 241, 244, 246, 249, 253 offering prayers 211, 213-14, 218
Munich Olympics 242-3, 246, 253-4, 304 Oliver 154, 156-7
music 26, 118-19, 123-4, 141-2, 147, 149, 187-8, Olympic Village 241, 244-6
191-2, 195, 205, 208-15, 218, 259, 270, 284 Olympics 241-4, 246, 248
Muslim children 215, 222-3, 225 on-screen text 177, 185, 189, 192, 225
Muslim countries 44, 63 on-screen time 79, 86, 97-8, 105, 305
Muslim population 48, 150 operation 243-4, 311
Muslim world 58, 69 Oral Torah 41-2
Muslims 47-8, 56-8, 63, 70-2, 96-9, 103-6, 108-9, Orthodox Jews 43, 220
115-16, 141, 179, 208-11, 213-15, 217-19, 222- Oscar 39-40, 76, 79, 82, 90, 127, 138,
5, 304-5 150, 170, 193, 206, 226, 239, 301,
male 110-11 304
Musse, Laura 197-8 Oscar documentary films 5-6, 13, 51, 78,
80-2, 84, 96, 104, 108, 310
N Oscar-winning and Oscar-nominated
documentaries 5, 81-2, 97-9, 106-7,
Nancy 154-8 303, 306-7, 309
narration 19, 76, 112, 140, 227, 241, 274 Oscar-winning documentaries 241, 272,
narrative structures 56, 64, 75, 90-1, 112, 127, 149, 304
225, 304 Oxford 312, 322, 324-5
narrative text 14-15 Oxford University Press 314, 320, 323-4
narrator 197-8, 200, 207-8
Narwekar 32, 34-5, 323 P
National Centre of Films for Children and Young People
(NCFCYP) 33 Pakistan 36-7, 73, 116, 128, 312
National Film Archive of India (NFAI) 33 Palestine 45, 68, 116, 128, 210-11, 223,
National Film Development Corporation (NFDC) 33 225, 254, 272-84, 309
Nazis 194, 196-8, 200-4, 229, 243, 256-60, 262-3, Palestinian and Israeli children 207
268, 278 Palestinian children 216, 218
NCFCYP (National Centre of Films for Children and Palestinian Muslims 211-12
Young People) 33 Palestinians 52, 68, 207, 209-11, 213,
New Jersey 311, 315-16, 318, 325 216-18, 221-4, 242, 249-50, 253
New York Times 23, 70, 135-6, 314, 318 Paradise 84, 194, 206, 307
news 9, 25, 36, 56, 67, 75, 136, 176, 186, 245, 247, Paris 29, 31, 61, 197, 238, 314
250, 313, 315, 317 participant depiction time 113
news media 50, 56, 311-12 participants 85-8, 91-4, 113, 121-4, 152-
newsreels 20, 28, 32, 257, 268 6, 158-68, 181-5, 195-8, 201-3, 207-
NFAI (National Film Archive of India) 33 13, 216-18, 231-8, 242-6, 248-9,
NFDC (National Film Development Corporation) 33 256-69
Nichols 8, 12, 15-17, 24-5, 323 arguments of 202, 263
Nile Perch 171-3 main 120, 129-37, 139-41, 147, 173-8,
non-practicing 79, 85, 87, 97-9, 101, 305 227-30, 243-5, 247, 250-3, 272-3,
non-practicing Christians 97, 99-102, 106-7 275-7, 279-82, 288-90, 294-5, 297-8
non-practicing followers 5, 79-82, 85, 95, 97-101, non-practicing 86
104-6, 113 participation 59, 130, 132
non-practicing followers of religions 97-8, 100-1, pastor 121-2, 124-5, 155, 171, 174
105-6, 305 patients 129, 132
non-practicing Jews 97, 99-103, 105-7, 209, 214, peace 7, 10-12, 47-8, 70, 79, 120, 125,
239, 305, 308 141, 146, 149, 152-3, 208, 214, 222,
non-practicing Muslims 98-103, 106-7 224
Non-diegetic sound 26, 76, 91-93, 113, 115-27, 130- pedophile 159, 166-7, 184-5, 308
39, 141-50, 154-56, 159, 161-63, 165, 167, 170, perspectives 10, 15, 19, 26, 51-2, 64, 66-
172, 180-81, 183-89, 191-238, 240, 242, 244- 7, 88-9, 117-18, 129, 185-6, 218,
225, 238, 299-300
344
historical 19, 225 religion-related issues 92, 139

Peter 133-4, 251, 276 religion-related Oscar documentary films
Pope 46-7, 167-8 80, 308
Potter, Harry 119-20 religions 1-7, 9-13, 51-3, 60, 65-7, 73-4,
practices 77, 79-88, 94-101, 103-11, 117-20,
discourse 88-9 138, 171-6, 178, 256-7, 303-6, 321-2
religious 1, 42, 79, 115, 121, 328 depict 78
socio-cultural 88-9 depicted 303
practicing 5, 79-80, 85-6, 93, 97-101, 113, 209, 239, depiction of 13, 24, 51, 81, 84, 304-6,
305, 308 310
practicing Christians 97-100, 103, 107-8, 126, 153-4, freedom of 7, 300
308 marginalization of 79, 85
average on-screen time of 97 mongolian 52, 328
depiction of 101-2 monotheistic 41, 45, 47
practicing followers 81-2, 85-6, 98-100, 107-8 patterns of 303
practicing Jews 97-100, 103, 107-8, 214, 306 portrayal of 5, 94, 306
depiction of 101-2 teaching 60, 322
practicing Muslims 97-100, 102, 108, 142, 305-6 world's 317
depiction of 101-2 religiosity 6, 44, 83, 85, 153
prayers 124, 132, 137, 142, 144, 148-9, 163, 179, religious bigots 10-11
263, 267 religious extremism 114, 327
preaching 121, 124-5 religious films 60, 322
priests 88, 152, 154-7, 159, 161-2, 164-8, 174, 179, religious interpretation 6, 83
181-2, 184-7, 190-2, 308 religious standards 79, 85
privilege 164-5, 204 religious studies 220
pro-social behaviors 81, 87, 106-11, 305-6 religious text 43
depiction of 109-10 religious tolerance 70
high level of 109-12 religious trends 13, 44
levels of 106, 108, 305 Renee 256, 258-64, 266-9
low level of 107-10 research 1, 4, 6, 13, 33, 54, 57, 62, 67,
processes 13, 16-17, 23, 25, 31, 36, 56, 65, 76, 89, 74, 152, 303, 308, 310, 317
114, 177, 208, 251, 310 research questions 80-1, 95, 103
production 4, 12-13, 15-16, 23-4, 33, 50, 54, 57, 60- resolution 23, 90, 224, 282-3
1, 66, 73, 89, 239, 307, 309-10 reunion 236, 238
prominence 5, 81, 85-6, 95-6, 103-5, 303, 305, 307 rhetoric strategy 24, 26, 115, 120-1, 194-
high level of 105 5, 199, 215, 270
levels of 96, 104, 305 rhetorical strategies 24, 27, 92
prophet 41, 47, 208, 288 Ricks, Bob 286, 295, 297
prostitutions 171, 174 ritual 51-2, 62, 157
psychological warfare 21, 72, 291, 295 Riyadh 129-39
punishments 49, 155, 157, 165 Robert 229, 233, 238
Roman Catholic Church 46-7, 163
Q Routledge 313-17, 320, 322-5
Rules of Engagement 71, 84, 286, 301
qualitative approaches 78, 80, 304 Russia 70, 133, 175, 237, 243
Quran 47-8, 142, 147, 208, 211, 221
S
R
sacred texts 47, 53
race 45, 62, 262, 269 Saddam 133, 141-2, 144-5, 148
Rachael 118, 120-1, 124-5 Samantha 181, 185, 190
Randolph 257-60, 262-5, 269 sampling, purposive 82-3
Raphael 173, 175, 178 San Andreas 160, 162
Ravett 64-5 Sanabel 209-10, 215-18, 221-4
re-enactment 17, 19-21 Sandfort, Paul 202-3
realism 18-20, 65 Sauper 172-8
Realist films 18, 20 Sauper, Hubert 171, 179
Red Cross 202-3 Save Dada 27-30, 319
Reform Judaism 43 saviors 114-18, 120, 155, 280
refugees 175, 177, 215, 235-6, 242, 274-5, 277, 282 scene depicts 259-60, 264, 268
region 69, 137, 144-5, 148-9, 175, 207 scene selections 140, 142
345
scene-setting 90-2, 112-13 Sunnis 48, 131, 133, 135, 138, 144
scenes 28, 52-3, 84, 116-19, 124-5, 134-6, 141-2, Supreme Court 123, 125-6
144-6, 167-8, 198, 207-8, 210-14, 220, 236-7, survival 132, 237-8, 277, 284
259-61, 263-6 survivors 64, 184, 227, 233-4, 251, 256,
Schematic structure 75, 90-1, 112, 125, 194, 200-1 267, 269, 272-4, 276-7, 280-1, 284, 300
Schneider, Steve 289, 293, 295, 298 Survivors Network of those Abused by the
school 3, 117, 121, 136, 141-3, 149, 156, 182, 190, Priests (SNAP) 188
214-15, 228, 233, 259 system 51-2, 61, 126, 146, 154
Schumer, Charles E. 289-90, 293, 297, 299
screen 129-31, 133, 135-6, 138-9, 158, 168-9, 177, T
179, 184, 188, 208-10, 238-9, 258, 264-5, 270
screen text 158, 187, 207, 217 Tabor, James 287-9, 292
secular 44, 67, 72, 79, 130, 309, 314 tabulation 95-6, 104, 106, 108, 111
secular films 61, 74 Talking heads mode 24, 26, 94, 116,
secular world 114-15 118-20, 125-6, 134, 141, 143, 145, 147-9,
secularization 51, 55, 79, 82, 85-6, 121, 303, 308-9, 153-6, 158-62, 164, 166, 169, 171, 173-8,
314 183, 185, 187-8, 191, 195-6, 198-205,
Sephardic Jews 43-4 207-14, 216-7, 220-3, 225, 227-8, 230-8,
Sequence of scenes 207, 212-13, 230, 236-7, 263, 241-53, 257-75, 278-9, 282-4, 287-90,
266, 274, 277, 284 292, 294-5, 297-301, 308
set 17, 33, 36, 50, 52, 61, 78, 137, 158, 221, 238, Tanzania 171, 175-8
258, 264-5, 267, 298-9 Tanzanians 177-8
sexual abuse 152, 157, 164, 166, 168-9, 181, 186-7, temple, second 41-2
192, 291 terrorism 10, 70-2, 179, 219
Seymour, Gerald 243, 245-6, 249-53 terrorists 63, 69-72, 133, 144, 209, 213,
shares 86, 132, 145, 149, 162, 181-3, 188-90, 196, 219, 222, 244-53, 304
199, 202, 207, 231-2, 244-5, 256, 268-9 testimonials 92, 158, 196, 257-8
Sheikh Aws 144-6 testimony 148-9, 159, 161, 164, 188,
Shiites 48, 144-5 194, 196-7, 203, 220, 229-30, 234, 242,
Shilon, Dan 244, 246-9, 251-3 248, 250-1, 277
Sholomo 209, 217, 220-1, 224 text 11-12, 14-16, 25, 88-92, 129-31,
shooting 15, 28, 129, 131-2, 265, 292 135-6, 138-9, 155-6, 158-9, 161, 165,
shot types 86, 101, 103, 105 167-8, 186-8, 208, 210-12
shots 27, 29, 76, 79, 84, 86, 101, 126, 181, 207, theaters 192, 195
247, 260, 265, 293-4, 297 thematic structures 90-1, 112, 199
categories of 103 Theresienstadt 201-5, 235
siege 71-2, 286, 292, 294, 298, 322 Toledo 181, 184, 186
Silvia 198-200 Tony 181-92
Simon, Matthew 183-4, 189 Torah 41-3, 209, 217, 220
SNAP (Survivors Network of those Abused by the Towndrow, Peter 129, 132-3
Priests) 188 transport, kinder 227, 230, 238
soldiers 131, 136-7, 210, 223 Troger 247, 249
songs 115, 119, 123-4, 149, 191-2, 195, 199-201, Troger, Walter 245, 247-9, 251-2
204-5, 215, 227, 232, 277, 279 TV newsreel 132, 134, 136-7
Spitzer 241-4
Spitzer, Andre 241-2 U
SS 204, 257, 261-2, 264, 275
stereotypes 56, 63, 68-9, 71 UNHCR (United Nations High Commission
stereotypical images 58, 309 for Refugees) 179
Stone, Alan A. 288, 290, 295 United Nations High Commission for
styles 17-19, 23, 58, 78 Refugees (UNHCR) 179
artistic 14, 61, 64 United Nations World Food Program 175,
sub-continent 27-31, 36 177
subject matter 18, 27 United States 21, 114, 116-17, 169, 192,
subjects 2-4, 15-17, 20, 22, 26-7, 59, 75-6, 81, 181, 209, 256, 266, 268, 283, 322, 327
259 universe 6, 82
Sugar, Robert 228-9, 233-4 University 286-8, 312-13, 317, 321
Suleiman 147, 149, 328 Ursula 228-33, 237
summer camp 114, 119-20, 122 US Catholic church 192
filmmakers depict 128 US Congress 287, 290, 292, 294, 297
Sunni population 130-2, 137
346
US Congress members 286-7, 289, 291-3, 297-9
variables 1, 15, 55, 85-7, 95, 105, 305

victims 64-5, 69, 71, 146, 152-4, 157, 161-3, 165,
167-8, 177, 181, 184-90, 219, 256
victims of sexual abuse 168-9, 187
video clips 257-9, 267-8
video footage 140, 142-5, 148-9, 176-7, 190, 192,
200, 213-14, 221, 290
viewers 2, 8, 15, 25-7, 59-60, 66, 72, 124, 126, 183
viewpoints 12, 26, 38, 140-1, 144, 186, 208, 212,
217, 222, 284, 287, 295
village 34, 52-3
violence 56, 68-9, 72, 135, 207, 283, 288
voice 17, 24-5, 76, 140, 167, 194-204, 207-11, 215-
16, 228-32, 234-5, 248-50, 253, 272-4, 277-8, 280-4
voice of authority 93, 126, 169, 175, 200-1, 205,
209, 215-17, 219, 227-32, 234-6, 238, 241, 244, 246,
249-52, 270, 272-5
voice of authority mode 24, 76, 93, 115, 131-3, 173,
176-7, 184, 194-9, 200-5, 215-16, 218, 221, 228-30,
250-1, 276-81, 283-5, 287-9, 294-5, 297-300
Waco 84, 165, 286-7, 290-1, 293-4, 296-8, 301

Wall, Patrick 156-7, 164, 166-8
war 8-9, 11, 21, 72, 120-1, 147, 178-9, 211, 219-20,
224, 234-5, 256-7, 262-3, 272-3, 324-5
Wegener 246-7
Wendy 183-6, 188-92
West Bank 210-12, 219
woman survivor 274, 282-3
Wong, Edward 135-6
World War II 25, 29, 178, 256-8, 268, 272, 274, 276,
281
Yael Danieli 279-80

Yarko 207-8, 213-24
Yonke, David 184-5
Zvi Zamir 248-52

Depiction of Religions in Oscar - Winning

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DEPICTION OF RELIGIONS IN OSCAR-

WINNING AND OSCAR-NOMINATED

INSTITUTE OF COMMUNICATION STUDIES

THE UNIVERSITY OF THE PUNJAB

IN PARTIAL FULFILMENT OF THE REQUIREMENTS

FOR THE DEGREE OF

DOCTORAL OF PHILOSOPHY IN COMMUNICATION STUDIES

DR MUGHEES UDIN SHEIKH

INSTITUTE OF COMMUNICATION STUDIES

UNIVERSITY OF THE PUNJAB,

which due references are given.

process of submission in partial/complete fulfilment of the award of any other degree

Prof. Dr. Mughees-uddin Sheikh

To Rana Eijaz Ahmed

would like to express my heartfelt gratitude to my supervisor Dr. Mughees Uddin

completion of this research work. He is indeed a rare intellect in the scholarship of

communication studies in Pakistan and I am lucky to work under his supervision. He

suggested me to visit Norway for a better understanding of film studies and

I am thankful to Dr. Ahsan Akhtar Naz, who facilitated me to participate in

international conferences where I found an opportunity to discuss my research with

international scholars. I would like to appreciate Mr. Mohammad Obaidullah, who

of life that enabled me to furnish this research. I am grateful to my brother, Hayat

his support and encouragement to take this initiative.

List of Figures vii

1.1 Introduction of the Topic 1

1.2 Objectives of the Study 5

1.3 Rationale for Documentaries, Religions and Time Period 5

1.4 Need & Importance of the Research 6

1.5 Pre and Post 9/11 Scenario 9

2.1 Historical Background: Documentary Film Genre 14

2.2 Documentary Film Traditions: A Historical Perspective 19

2.3 Documentary Film Modes 24

2.4 History of Documentary Film in the subcontinent 27

2.5 Documentary Film Genre in Pakistan 37

2.6 Academy of Motion Picture Arts and Sciences 38

2.7 Religions Appeared in the Documentaries: An Overview 41

3.1 Religions and Media 53

3.2 Depiction of Judaism, Christianity & Islam in Films 60

Chapter 4: Theoretical Framework 74

4.1 Theory of Framing 74

5.2 Framing of Religions: A Quantitative Analysis 79

5.2.1 Research Questions and Hypotheses 80

5.2.4 Unit of Study 84

5.2.5 Unit of Analysis 85

5.2.6 Categories and Coding Scheme 85

5.2.7 A Qualitative Analysis of Religion-related Discourses 88

Chapter 6: Data and Analysis 95

6.1 Quantitative Data & Tabulation 95

6.2 Qualitative Analyses of Documentaries 112

6.2.1 Narrative Structures, Scene-setting and Modes 112

6.2.1.1 Jesus Camp 114

6.2.1.2 My Country, My Country 129

6.2.1.3 Iraq in Fragments 140

6.2.1.4 Deliver Us from Evil 152

6.2.1.5 Darwin‘s Nightmare 171

6.2.1.6 Twist of Faith 181

6.2.1.8 Promises 207

6.2.1.9 Into the Arms of Strangers 227

6.2.1.10 One Day in September 241

6.2.1.11 The Last Days 256

6.2.1.12 The Long Way Home 272

6.2.1.13 Waco: The Rules of Engagement 286

Chapter 7: Conclusion & Recommendations 303