BSA103 Nagib article questions.

Paragraph One-Six. 
Auspicious: Conductive to success/a sign of future success.
Obsolescence: No longer used.
Malaise: Feeling blue/ in a slump.
Delocalisation: A loss of being able to determine the place of where something is.
Centenarian: Being at least 100 years old.
Intuit: To know or grasp by intuition.
Oeuvre: The total output of a writer/artist.
Ineffability: Incapable of being able to express or describe with words.
Erudite: Having or showing profound knowledge.
Emphatic: Forceful and definite expression or action.
Italian Neorealism: Golden age of Italian cinema featuring stories filmed on location and set amongst the poor and working classes using non-professional actors.
Inaugurated: Officially commenced.
Vehement: Extreme intensity of emotions or convictions; inclined to react violently.
Parti pris: A bias.
in toto: Overall/as a whole.
Coheres: To form unified whole/to be logically consistent.
Phenomenological: Philosophical study of the structure of experience and consciousness.
Ontological: Philosophical study of the nature of being, becoming, existence, or reality, as well as the basic categories of being and their relations.
Multifaceted: Having many sides/aspects.
Permanent communion: A permanent act or instance of sharing.
Elucidate: To make something clear/explain.
Vagaries of modernity: The unexpected and inexplicable change in behaviour or the situation of modern life.
Posits: To lay down or assume as a fact or a principal.
Dialectical thought: A form of analytical reasoning that pursues knowledge and truth as long as there are questions and conflicts.
Transformative politics: To convert or change a political structure.

2. Nagib will be attempting to capture the moment where films from around the world suggest ways of transforming thought, and society. He wants to analyse how films can be used to change ideas of society.
3. His method will consist of focusing on non-cinema where the medium of cinema disregards it's own limits in order to interfere with other art and life itself rather than looking effects that are created and later lost in the cyclical deaths and revivals of cinema.
4. He defines non-cinema as a medium that disregards its own limits in order to politically interfere with art and life itself. This fits into his argument because he is hoping to capture the moment where film changes thoughts and society.
5. Andre Bazin was a french film critic and film theorist who Nagib references because he was one of the first to intuit what Nagib describes as non-cimena.
6. He is concerned with making sure that realism is a movement that always aims for a faithful rendering of reality.
7. Dudley Andrew is an American film theorist. He is referenced because he defends cinema whose aim is "to discover, to encounter, to confront and to reveal". This is important because the article is about realism in cinema and how it shapes society.
8. He takes issue with cinema that is created for "effect" by using "lies and acting" meaning that he has issue with cinema that doesn't have a realistic element to it.
9. Andrew considers that real cinema must be routed in reality and this is referenced in the context of Nagib's argument because Nagib is discussing the impact of cinema on our lives and our reality and how cinema can skew or change us. For Andrew to consider real cinema as something rooted in reality this would mean that cinema both stems from and contributes to society.
10. Yes I think there is a relationship because realist cinema aims to portray a sense of people in their natural environments, realistically. This would mean that the audience are shown the world through the point of view of the characters being depicted. Naturally, this would have political elements and questions intertwined because we will see the politics of the world that those characters inhabit by watching their struggles and reaction to the people and events in the world around them.
11. He begins by pointing out the way that cinema and other art forms are tied into history as they portray a time that once was. He then goes on to wonder whether films can change the politics of a society, paying particular attention to realist cinema's influence.
He explains what he refers to as "non-cinema" in the opening paragraph. He considers "non-cinema" to be cinema that surpasses its limits in order to politically interfere with other art and life itself.
The topic is of interest because it is a debated topic as to whether life influences art or vice versa, particularly in regards to the medium of cinema.
He states his main argument in the opening paragraph where he describes his aim and tells us how he will go about analysing that aim.
He tells the reader how he is planning on approaching the topic, and then he tells us the main source he will be using to both discover and back-up the information that he uncovers.

Paragraphs seven to eleven.
Unmediated: Without anyone/anything interfering.
Simulacrum: Imitation of a person or thing.
Ontology: Ontology is the philosophical study of the nature of being, becoming, existence, or reality.
Specificity: The quality or state of being specific.
Compendium: A concise compilation of a body of knowledge.
Phenomenological: The philosophical study of the structures of experience and consciousness.
Existential: Existentialism is a philosophical movement which emphasizes on individual existence, freedom, and choice. The main identifiable common proposition, is that existence precedes essence.
Metaphysics: Traditionally, metaphysics attempts to answer two basic questions in the broadest possible terms, "Ultimately, what is there?" and "What is it like?".
Sartrean: Pertaining to Jean-paul Sartre.
Corroborate: Confirm or give support to (a statement, theory, or finding).
Transference: Transference is a phenomenon characterized by unconscious redirection of feelings from one person to another.
Automatism: Automatic behavior, spontaneous verbal or motor behavior; an act performed unconsciously.
Indexicality: An indexical expression (such as today, that, here, utterance, and you) is a word or phrase that is associated with different meanings (or referents) on different occasions.
Semiotic Parlance: A particular way of speaking or using words while talking about the study of signs and symbols and how they are used.
Referent: The thing that an expression refers to.
Dialectics: Examining and discussing opposing ideas in order to find the truth.
Heraclitean: Early Greek philosopher who maintained that strife and change are the natural conditions of the universe
Pantheon: A group of famous or important people.
Pro-filmic: Everything placed in front of the camera that is then captured on film and so constitutes the film image.
Spatio-temporal: Belonging to both space and time or to space–time.
Relinquishing: Voluntarily cease to keep or claim; give up.
Incongruous: Not in harmony or keeping with the surroundings or other aspects of something.
Propagation: The act of spreading something.
Pyrotechnics: A brilliant performance or display of a specified skill.
Jouissance: physical or intellectual pleasure, delight, or ecstasy.
stasis: a period or state of inactivity or equilibrium.
Politico-Philosophical: Blending political and philosophical views.

2. Film is different to other art mediums because it has the ability to portray things exactly as they are seen, without any biases where as other art forms with always contain some form of bias because it will be created by someone who with naturally have subconscious biases.
3. Benjamin was a philosopher and cultural critic. He thinks that the copying of and imitation of cinema has no original.
4. It refers to cinema that is tied to reality, almost as if it is in it's own container but sucks it's life from reality so it is separate from reality but it can't exist without it.
5. A long take is a take that rolls for a long time without a cut and a long shot it when a shot is taken from far away from the subjects that it shows so that there is a wide view of everything that you see. He thinks that realism is created by using long shots and long takes. This is because they show the scene as is without being orchestrated and manipulated by the director.
6. They avoid use of montage to tell a story and they film in such a way that they are able to capture elements of chance in their film.
7. He avoids use of montage and allows his film to be open to chance. He avoids set up in order to avoid the actors from looking like "well-behaved subjects posing".
8. Lyotard considers cinema to be a crowd of elements in motion. He says that if no specific part is focused on we will accept what is fortuitous, unsteady, confused or poorly framed along with other things. He considers refers to this removal of constant cuts and loss of specific focuses within shots in cinema as "acinema".
9. The example Nagib uses is Renoirs "Boudu Saved from Drowning (1932)" where there is a 360 degrees panning view of the banks of the Marne river. This doesn't do anything in order to drive the narrative forward, it is only to "reveal the intrinsic beauty". This means that the shot draws attention to what you see in the scene rather than being put in the scene in order to aid the narrative thread.
10. Scenes of "Umberto D" are referenced because the rendering of a character's experience of time is more important than the the narrative in the story. This is important in Nagib's argument because it means that the film focuses on the development of characters during the changing of time, with more emphasis based on showing a development and change or enlightenment to a character rather than constructing a story that takes the lead and drives the character according to a directors narrative. This means that the story becomes far more realist because it is a truer and more accurate rendering of real life as real life doesn't follow a pre-written storyline.

Paragraphs fourteen - sixteen.
Vocation: A strong feeling of suitability for a particular career or occupation.
Distension: Enlargement or ballooning effect.

2. Adorno says that film has a leading role in modern art, but only in the sense that it rebelled against it's own status as "art" as a result of it's self-awareness of technological origin.
3. The long take is when a scene is shot from a long way away, enabling to get in lots more into the shot. It also allows for a more realistic shot with the chance of more variables in what the director can capture on screen. This is significant in Nagibs arguement because it is a technique that can be used to create a more realistic and less "tampered with" portrayal of a scene.
4. I think that the long shot has became a way of dedramatising a shot and is associated with non-dramatic cinematic schools because by using the long shot the director loses some of his ability to edit scenes in such a way to manipulate the viewer. This loss of some of his control means that the drama can dissipate because it is almost the opposite of the typical  editing technique employed in order to build suspense.
5. He says that the use of long shots runs "counter" to filmic principals, refusing to " sacrifice anything to drama". By this I think he means that the long shots dedramatise the movie and the over use of these mean that the general public find the movie boring.
6. I think it bores the public as they have no opportunity to form connections with characters or get invested in the storyline as it is more focused on aesthetics and realism with a lack of symbolism compared to the average staged movie.
7. I think that the filmic principle that the over-use of long shots in La Terra Trema runs counter to is the general rule that a film will never be realistic rendition of the chaos of reality, it must have a narrative. Every film is directed and edited by a few people that will direct or edit according to their subconscious biases and even if they try to remain unbiased film will never be an example of perfect realism. Therefore, while Visconti uses long shots to create as realistic of a portrayal as possible, by doing this he is losing a huge aspect of film as an art form, which is the ability to manipulate reality via use of storyline.
8. I think the aesthetic impasse refers to the struggle of keeping the balance between using long shots in order to add a sense of realism to the movie without over-kill which leads to a lack of narrative and therefore turns the movie from a movie into a recording.
9. Bazin disliked the avant-gardes because of the lack of narrative in their films which he considered to a filmic principal.
10. I think he is arguing that the duration of time mustn't be too planned out but must works towards the inevitable "cut". For realist cinema the director would need to accurately capture the passing of time with minimal interference but without losing sight of the narrative and the director must be able to accurately choose a cut off point without it seeming orchestrated or too pre-arranged.
11. We perceive things not just how we see each image measured on a scientific timeline, but rather we see the image and time simultaneously and as one. The change of time in conjunction with image is "static" in the sense that we don't tend to notice the steady passing of time in any given moment.
12. Henri Bergson was a French philosopher who thought that experience and intuition were more significant than rationalism and science for understanding reality. Regarding "Duree", Bergson believed that time eluded maths and science as if one were to measure a duration of time between two points, by the time they have done it, that time is gone. Bergson believed time is mobile and incomplete and in any individual moment time can speed up or slow down depending on that person's perception of the passing of time. I think Nagib references this because in realistic film the director effectively should be able to capture the tension of the moment and the sense of the speed of time in relation to that moment so the viewer feels the same passing of time as the characters on screen. This runs counter to the staged and unrealistic feeling of having the duration of time organised and planned in advance which gives the movie a "polished" flow, which isn't realistic.
13. He says that rather than thinking of time as having a definite beginning and end one should think of time as a continuum where the past constantly grows and the future constantly contracts, therefore it is constantly in movement.
14. Nagib summarises his argument by telling us what he considers realism in cinema to be and need. He tells us how Bazin defines realism as a story that is infused with, and diffused by chance encounters that aren't in harmony with time and space. According to Nagib, by saying this Bazin is highlighting the moments found in cinema where story becomes history.
15. Deleuze was trying to achieve the defining of realism as the moment when story becomes realism by splitting cinema into movement-image and time-image. This means that he split cinema into the mechanical "image of thought" versus the abstract "thought without image" in order to show the two opposing sides that should both balance out one another in film in order to create a movie that could be classified as "non-cinema".

Paragraphs seventeen-twenty.
Existentialism: Existentialism is a philosophy that emphasizes individual existence, freedom and choice. It is the view that humans define their own meaning in life, and try to make rational decisions despite existing in an irrational universe.
Intermediality: Intermediality refers to the interconnectedness of modern media of communication. As means of expression and exchange, the different media depend on and refer to each other, both explicitly and implicitly; they interact as elements of particular communicative strategies; and they are constituents of a wider cultural environment.
"Cinema precedes its essence": Cinema comes before what it is in an abstract sense.
Dynamic Properties: properties of a force that stimulates change or progress within a system or process.
Self-sufficient medium: A medium that can supply for itself.
"Cinema impur": The theory of cinema being an impure art form because it interbreeds with other art.
Dada artists: An anti-establishment art movement associated with artists such as Hugo Ball and Max Ernst.
mimesis: the imitative representation of nature or human behaviour
Propos: Proposition/Plan.
Allusion: Allusion is a brief and indirect reference to a person, place, thing or idea of historical, cultural, literary or political significance. It does not describe in detail the person or thing to which it refers.
Subtractive: Producing or involving subtraction.
Heideggerian hermeneutics: Is the theory and methodology of text interpretation of the philosopher heidegger.
Sui generis: In it/his/her own class/ unique.
2. Impure cinema is the precursor to intermediality.
3. His praise of impure cinema.
4. He recognises the power of cinema and it's ability to merge art mediums into itself which is a relatively new understanding.
5. He equates realist cinema to cinema that brings attention to and relies on art and other media in it. 6. He says that realist film are not only to be subservient to the phenomenological real, but instead remain faithful to their literary origins.

7. He says that in Diary of a Country Priest, the director follows the novel page by page, showing his fidelity to the original literary style on which the fable relies.
8. Sartre believed that, for humans, existence precedes essence. This means that we are born before we end up growing into our character. With Bazin believing that cinema precedes essence he is essentially saying that cinema comes first before it is edited and manipulated in order to be given a meaning.
9. Rudolf Arnheim believed that art is a way to help people understand the world, and a way to see how the world changes through your mind and that its function is to show the essence of something, like our existence. He believed the true artistry of film is made possible by the techniques such as close up. He said that the technique of film filming shaped what was filmed. Bela Balazs believed that on it's own literature was the over-intellectualised, abstract "soul", he thought that the visual aspect of film ment that it had the ability to transform what, on paper, was just soul, into body. He thought that because of close ups, film actors needn't over-exaggerate their acting as theatre actors had to. Jean Epstein was part of the avant-garde movement. At it's core his idea of photogenie seeks the essence of cinema. However, it is unable to exist in a film with a highly driven plot, therefore Epstein rejects narrative as the central element of film. I think these there people were referenced because they have differing opinions to Bazin and through their example Nagib shows us how Bazin's thoughts are different from that of many avant-gardes.
10. It is a direct response to Cinema pur.
11. Cinema pur was an avant-garde film movement begun by filmmakers, like René Clair, who "wanted to return the medium to its elemental origins" of "vision and movement". This differs from Bazin who thought that cinema needed narrative to be truly realist. He likes the combination of different media in cinema where as Henri Chomette (Rene Clair's brother) thought that cinema should be mainly focused on telling the story through it's visual element.
12. They wanted to turn cinema back into what they considered to be it's true origins which was for it to be mainly about visuals and movement. The avant gardes and dada movement were particularly interested in the movement. The dada's tried to use film to transcend narrative conventions, bourgeois traditions, and conventional Aristotelian notions of time and space by creating a flexible montage of time and space. Avant garde artists shared the dada artists views in relation to many of their anti-establishment ideas. Both the avant-garde and dada artists would reject the idea of film conforming to the established idea of needing a narrative to tell a story.
13. Bazin says Rene Clair's filmmaking technique is "expression through the image always predominates over that of the word and one almost never misses the essence if one can only vaguely hear the dialogue." Meaning that the image holds the most importance over all dialogue. Man Ray made the case as a visual artist that film is a purely visual medium and this important characteristic assures a distance from reality; film is not to be a documentation of life, but a poem on the rhythms of existence. . Fernand Leger's film Le Ballet Mecanique lacks all narrative, instead it is essentially a montage of images. All of these filmmakers tend to make movies visually impressive but lacking in narrative. Therefore their films are examples of cinema pur which is basically the opposite of what cinema impur would be considered to be.
14. Bazin thought that cinema pur worked against realism in cinema because it focused almost entirely on portraying the elements of filmmaking that was inherent in the film medium. Bazin thought that this technological process detracted from the ability to create realism in film. Cinema impur was a direct response to cinema pur, meaning that instead of focusing on the techniques used being those of lighting, montage, ect., the focus was instead placed on using less techniques to stylistically manipulate the movie. Bazin thought cinema was a window to the world and this would mean that, in order to make sure the film as as authentically unbiased as possible, it would have to avoid the techniques that were championed in cinema pur.
15. Maybe Bazin thought that Broken Blossoms stood the test of time better than the Andalusian dog because it tells of a story of human suffering and conflict. It has characters that viewers could empathise with because it is filmed in such a way as to encourage empathy in the audience. The moving themes are themes that humanity will always have to face in some form or another. In contrast the andalusian dog is filmed in such a way that the audience doesn't particularly form many empathetic bonds with the character's suffering because the scenes have a much more erratic and dreamlike feel to them so the audience finds it easier to "disconnect" to the characters. For these reasons Bazin could argue that Broken Blossoms is far more likely to stand the test of time when compared to the andalusian dog.
16. He realises that there is an indissoluble link between cinema and other media while also saying that cinema cannot be self sufficient, referring to it as a "plus one" of other art forms; taking from them and unable to exist without them.
17. Marxism, Heideggerian hermeneutics and psychoanalysis.
18. Art is a means to slowly reveal a truth which is a unique ability of only Art.
19. In False Movement the story unfolds slowly as it follows different people who all have different stories. The movement tells the story, letting it unfold in front of the audience.
20. He proposes to find out how impure cinema becomes political by analysing three examples that cross the lines into that of both life itself and the other arts, meaning he will analyse movies that are realistic and have reference to other art forms within. This relates to Nagibs argument because he is trying to see how film contributes to politics and vice versa. By analysing film that successfully (or unsuccessfully) attempts to show the world in a realistic or political light, and then considering the fallout of that, he can find out if and how the film succeeded or did not succeed, and why.

Paragraphs Twenty one - twenty four.
1. "This is not a film" is an ironic title because, by avoiding the use of techniques employed in order to create a film, Panahi creates a film.
2. It is a reference to a film that he had made earlier in which one of the child actors decided that she no longer wanted to act a lie and so she took off the cast that the character she was portraying wore and went home. By saying that he wanted to "throw away his cast" Panahi was saying that what he was doing didn't feel right or truthful and he didn't know if he was doing the right thing in his choice to film what was essentially nothing but a staged lie.
3. A film about Iranian filmmakers who are censored in the films that they make would clearly be political because it is showing a government censored system that prevents people speaking their mind if it is at odds with what the government say. This is relevant to Nagibs argument because he is interesting in discovering where, and how film and politics blur.
4. When the girl decided to stop filming, Panahi didn't stop the recording of the camera like most directors would have done. With the loss of the actor, most directors would go and get another and stick to the script. However, Panahi ended up having the story changed as he allowed for the nine year old girl to end up narrating the story unwittingly as she tries to find her way home. This direction ment that Panahi's film cannot become a film of conventional standards because the girl was lost out of sight at times as she was followed. At other times her mic signal was broken so she couldn't be heard. These happenings ment it was impossible to construct the story in a conventional way because everything was left to chance in the people the girl encountered and the direction that she went in on her way home. Panahi's decision to continue to capture the story as it unfolded shows his comfort with documenting the real and straying from conventional filmmaking.
5. It could be seen as such because that is what it is if one was to think of it in terms of filmmaking technique. The spontaneity of the situation would mean that the shots wouldn't be perfectly shot and re-shot in order to get the perfect scene because they would have only had the chance to get every scene once or not at all. This means that some of the shots would have inevitably been less than what they could have been, had they been staged, This relates to the idea of non-film because it isn't filmed as most film would be, which is to say it wasn't planned.
6. Lyotard disliked film that was polished to the point where every single movement in the film had been calculated, and if not good enough, eliminated. Lyotard would have been more impressed by Panahi choice to leave in the less-perfect of the shots that he'd captured because it ment that there is a less restricted and a stronger feeling of discovery to the finished product.
7. Lyotard's theory results in a lack of clear-cut story telling. This means that to the common majority, the picture lacks the refined element that most of us are used to. The formula for most commercial film is that of keeping only the utmost necessary and cutting anything else. By leaving in parts that are not entirely necessary for the betterment of the storyline, the filmmaker risks the possibility of their audience either losing interest or getting confused. That is one reason why films made outside the conventional methods tend to have a loss in commercial value when compared to those that have been carefully cut and shot to perfection. They are also less easy viewing than the blockbusters that have been carefully edited with the idea of seamless running between cuts. Allowing the use of odd and unconventional camera angles and lighting into the finished product distracts the viewer from the ability to get entirely lost in the picture as they will constantly be brought back into the realisation that they are watching the events unfold on a screen.
8. Despite winning the golden leopard at Locarno in 1997, The Mirror never found commercial distributors in Europe, only recently becoming available on DVD.
9. His realism because of his lavish use of long takes.
10. Jean-luc godard was a french director who rejected the conventional standards of both French and Hollywood filmmaking. Jacques Rivette was also a french director who was part of the New Wave movement. Eric Rohmer was one of the last of the New Wave directors to establish himself, however, his career remained strong for a long time when compared to other New Wave directors. He disliked the close up shot saying that it's not how we perceive each other. He also avoided putting sound into movies, seeing that as breaking the "fourth wall". All of these directors were French New Wave directors. They are characterised by their desire to shoot current social issues on location rather that shoot literary period pieces in studio. They experimented with editing such as fragmented editing and long takes. Most of their films were left open ended. These techniques are very influenced by the thoughts of Bazin so that is why Nagib refers to them as his disciples.
11. Long shots, long takes and tracking shots.
12. It is classified under the category of movement-image, meaning that is nearer to classical cinema montage rather than modern realism. This shows the limits of the changing divide that denies modernity to the most innovating procedures originating outside Europe. Nagib finds it curious that Deleuze has classified it in that way because it was filmed using long shots, long, takes and tracking shots which means that stylistically it is shot like a film that could be categorised as a realist film.
13. It couldn't be more modern in the way that it was shot with a self-reflexive structure that questions styles of performance for film, for theatre and for the two combined.
14. The geidomono genre is a film where the protagonist is a practitioner of one of the traditional japanese arts. Its a was especially resorted to in the 1930's as an alternative to creating propaganda films for the government for the war effort.
15. It allowed Mizoguchi to exercise his in depth knowledge of traditional japanese arts. Nagib backs this up by saying that he considered getting Kikugoro VI to play his father Kikugoro V in his film.
16. They were: This is cinema and This is good film acting but not good kabuki acting. The acting as condemned for being poor acting in the beginning although, we would see it as good acting.

Paragraphs twenty five-twenty seven.
consumptive: Affected with a wasting disease.
kabuki: A form of traditional Japanese drama with highly stylized song, mime, and dance, now performed only by male actors, using exaggerated gestures and body movements to express emotions, and including historical plays, domestic dramas, and dance pieces.
quasi-documentary: Somewhat or partially documentary.
distanciation: Distanciation in general refers to the stepping back or distancing of the observer or reader from an object of scrutiny.
elicited: Evoke or draw out (a reaction, answer, or fact) from someone.
abject: (of something bad) experienced or present to the maximum degree.

2. He discusses the example of The story of the last Chrysanthemum. He says that the use of the long shot and  and the semi-veiled middle range shots doesn't show much of the actors facial expression or his actual performance. This means the actor has become a part of the story and isn't put into the spotlight and individualised. This public element and atmosphere created by the theatre like style gives a realistic, non-cinema portrayal of the situation.
3. The Brechtian focus is the ideas of Bertolt Brecht who believed that theatre shouldn't focus on the the actor, in the sense that the main aim shouldn't be to cause a feeling of empathy for the character. He believed that the focus should be on the viewer. He thought that theatre should provoke self reflection and cause the audience to question what they see on the stage before them. By having the characters act their crimes while they proudly answer the questions the interviewer asks prevents us from empathising with the characters, instead it cases the viewer to question why someone could do that leading to criticism and revulsion.
4.In the Act of Killing the impression of reality is turned on its head in order to become the true reality and therefore, non-cinema. Nagib backs up this argument by referring to a scene where Anwar and Adi dress up to appear tortured is if they had been tortured by the interrogators they represent.
5. He resorts to one of the symptoms of post traumatic stress disorder, presentification. By targeting Anwar's PTSD, he achieves a non-cinema effect.
6. Oppenheimer attempts to stir up and ignite Anwar's PTSD in an effort to "bring back" the ghosts of Anwar's past that can only be achieved because of the horrific ways they died and the guilt Anwar feels as a result.
7. He pretends to be the friend of the killers, however from the start he has ulterior motives because he knows how his film will end up condemning them in the eyes of the rest of the world by exposing their crimes in the end. This means he shows the killers for the cruelty they engaged in rather than the heroic military leaders that they proclaim to be. However, he also reveals his own lie by essentially betraying their trust by making them appear cruel rather than heroic. He especially betrayed Anwar by letting Anwar place his trust in him while also seeing how much more troubled Anwar was about the whole thing, but taking advantage of that and aggravating it.
8. By eating their enemies the Tupi-Guarani were absorbing the strength and suffering of their enemies which becomes almost a justification of the deaths. This is referenced by Nagib because it alludes to how the perpetrators in The Act of Killing justified their acts.
9. The first scene shows Anwar, in a cheerful mood, explaining and demonstrating how he killed his victims by using another man as a "prop" in place of the alleged communist who he would have killed. The second time we visit this scene, Anwar is thought to have gone through some form of transformation. By this point he has placed himself in the role of the communist. The second time he can't breath and begins retching when he tries to describe what he did. This gives the viewer the feeling that Anwar has felt empathy for the communists and guilt for his actions, giving him more humanity.
10. By opting for the long take, the resulting scene is more impactful because it portrays the scene in the most realistic way so it is very hard-hitting for the audience as it hasn't edited out some of the retching by cutting them out. The result is it seems that we are watching something happen in real-time rather than watching a film about something that happened.