7. How do various forms of collective or co-creative documentary filmmaking problematise authorship? 8. Methods of pre-production and production can profoundly shape the form, structure, meaning and affective experience of a documentary film. Consider two films in the unit in light of this proposition, whether mainstream, experimental, activist or otherwise. 9. Bearing witness describes a structure of documentary spectatorship in which viewers are solicited to listen, acknowledge and affirm an experience to which one or more people, a community perhaps, testifies. More than this, it is a mode of spectatorship interested in transforming a recognition of trauma into a collective social responsibility that might manifest as different practices, whether political activism, forms of mutual aid, or the transformation of a dominant cultural memory. Compare and contrast how at least two documentary films establish such a structure of spectatorship. Documentary: The Act of Killing – Full Length https://sydney.kanopy.com/video/act-killing https://sydney.alma.exlibrisgroup.com/leganto/public/61USYD_INST/citation/13171796520005106?auth=SAML Documentary: Bus 174 https://sydney.kanopy.com/video/bus-174
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