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Conclusion
Both narrative and documentary films, in order to be viewed and understood must have a compelling social interest to the viewer, be it emotional, political or both, which it usually is. There must be a story line, often a villain or an implied villain and a message, often placing the political into a position of affecting emotion, be it anger, disgust, empathy, sympathy or even hatred for an implicit or explicit villain, who is in some manner is usually oppressing an underdog. The manner in which the viewer is compelled to build an opinion about the antagonism of a story is through good story telling. To make a film or write a story that has merit and is read or viewed you must have all the same elements of intrigue, plot, conflict, compelling character (s), compelling setting and compelling...
(1999) Politics and Politicians in American Film. New York: Preager Publishing
Giglio, E. (2005) Here's Looking at You: Hollywood, Film & Politics. New York: Peter Lang Publishing.
King, C.S. (Dec. 13, 1988) Hollywood's Latest Perversion: The Civil Rights Movement as a White Experience. Los Angeles Times.
Kingdon, J.W. America the Unusual. New York: Worth Publishers.
Rosenstiel, T. (1998) Chapter 13 Hollywood Goes to Congress, in Dennis E.E. Snyder, R.W. eds. Covering Congress. New York: Transaction Publishers.
Wheeler, M. (2008) Hollywood: Politics and Society. London UK: British Film Institute.
Resources
Gianos, P.L. (1999) Politics and Politicians in American Film. New York: Preager Publishing
Giglio, E. (2005) Here's Looking at You: Hollywood, Film & Politics. New York: Peter Lang Publishing.
King, C.S. (Dec. 13, 1988) Hollywood's Latest Perversion: The Civil Rights Movement as a White Experience. Los Angeles Times.
Kingdon, J.W. America the Unusual. New York: Worth Publishers.
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