Spr 08



Plantinga, Target For Tonight and Drama Documentary


1. Discussion: Plantinga, "Introduction"


Why, in the view of postmodernism, is the kind of categorization Plantinga refers to (fiction vs. nonfiction) a problem? 






Why does Plantinga suggest a functional, rather than an essential definition/distinction between the two modes?






How is the problem of viewing fiction as "manipulation" comparable to the problem Nichols points out of considering all constructs to be fictions?






What does Plantinga see as the limits of Grierson's definition of "nonfiction"?  Nichols's definition?







What does it mean to consider documentary, like "art," to be "an open concept?"






What is "indexing?"






What is an "assertive stance"?




2.  Target For Tonight:

How is Target a "documentary" comparable to City of Gold ?  What conventions and expectations characteristic of the documentary mode does it draw upon?




How is this an "objective" document?




How does Target vary from standard documentary conventions?




What is the film arguing?




What kind(s) of evidence does it present?




How does Target borrow the characteristics of dramatic/fictional narrative we've discussed?




What considerations do the film's recreation of evidence raise?