Answer the questions in their entirety. Cite the text using page numbers and videos with time stamps. NO OUTSIDE SOURCES.
Question 1) Martel describes how she came to make The Phantom of the Operator in the interview with Jim Supanick. What was something that stood out to you as interesting from their exchange?
Question 2) Susan Schuppli’s essay begins as a relatively straightforward account of the taping system in the Nixon White House, and the problem of 18 minutes of tape that was mysteriously erased in the wake of the Watergate scandal. As it develops, the essay offers a series of interesting reflections on silence, material witnessing, ghosts in the machine, and what she calls, “the sustained ‘miracle’ of potential ‘resurrection.'” Schuppli’s essay is more focused on the material qualities of archival materials than on the cultural or social resonances that come to the fore in The Phantom of the Operator. Nonetheless, her essay invites us to think more about how Martel foregrounds the material qualities of her found materials. What do you notice about the importance of sound, for example, in this process? Find a point of connection between something Schuppli writes and something you noticed about the way Martel’s film looks or sounds, and explain the link. Cite Schuppli’s essay and include a screen shot from The Phantom of the Operator to illustrate your response.
Question 3) Watch Our Nixon. How does the film work with the home movies shot by Nixon’s aides in a way that departs from what Martel is doing in The Phantom of the Operator? What are some of the more conventional aspects of documentary that appear in Our Nixon that Martel leaves aside? What are some of the inventive things that the film does with sound that distinguishes it from Martel’s approach to narration and sound design in The Phantom of the Operator?
Caroline Martel with Jim Supanick, “Unseen Voices”: UNSEEN VOICES: Caroline Martel WITH JIM SUPANICK – The Brooklyn Rail
Our Nixon: Watch Our Nixon (2013) Full Movie Free Online Streaming | Tubi (tubitv.com)
(Links to an external site.How does the film work with the home movies shot by Nixon’s aides in a way that departs from what Martel is doing in The Phantom of the Operator? What are some of the more conventional aspects of documentary that appear in Our Nixon that Martel leaves aside? What are some of the inventive things that the film does with sound that distinguishes it from Martel’s approach to narration and sound design in The Phantom of the Operator?
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