In his piece on the american musical movement of jazz, Ken Burn combines expert interviews, archival photos and footage, to create his conservative piece about america's favorite improvisational music. By juxtaposing relevant photos with information given on-screen the information becomes accessible to the audience. Burn's style invokes the audience to apprehend information without biases or opinions; he aims to present genuine historical information through the words of people that know what they are talking about. Also, by linking relevant photos and footage to the spoken word, Burns keeps the viewer focused on supportable information (words: Louis Armstrong was a musician from the projects--> picture: Louis Armstrong as a kid living in the projects).
Now, this filmmaker's relation to our project became very clear after the first 10 minutes of the film. He constructs visual and sound in a way that will maximize the viewer's apprehension of information: nothing more, nothing less. Our project lies in the realm of a Ken Burns film because its adherence to historical subject matter. If we are to follow in the steps of Ken Burns then we must looks at his pacing and his presentation of B-Roll. His his speed of B-roll revelation is something to note, because it slowly progresses in and out of the image. Also, he used a lot of dissolves and when pertinent can come handy when attempting to move the unmoving image. Basically, he produced a film that maximized education and minimized sensational entertainment. (Less Errol Morris--> more history channel). This documentary is historical and thus necessitates a factual based documentary. However, depending on where exactly Brad wants to direct the film, its has potential to deviate from Burns's pics (think irrelevant images+ put over factually based narration= create different meaning).
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