1.What does the author mean by documentaries of "wish-fulfillment'and 'social representation'? How are they similar? Different?
Documentaries of "wish-fulfillment" discipline are fictions. These films are fantasy and nightmares that someone makes up. Documentaries of "social representation" discipline are non-fictions. These films show parts of the world that are real and tangible.
2. With regards to an on-camera subject, what is the difference between performing in a fictional role and being a part of a non-fiction film? Can the lines between actor and subject blur? In what way?
The difference with fiction and non-fiction characters is the first an actor is trying to act in a believable role, and the latter is the subject is trying to act normal. Actors and subjects can blur in non-fictions because everyone since childhood has been trained to act in a way to present them self to a camera. In a way a actors can become subjects, but then they are a good actor or won't get many roles.
3. What are some of the social/ethical responsibilities documentary filmmakers need to consider with regards to their subjects?
Filmmakers need to balance their relationship with the subject and the relationship with the viewer. They need to judge what they are recording and judge what may be the result of capturing that moment. The filmmaker runs the risk of changing the way the subject acts, and getting into some serious legal problems.
4.With regards to the "I Speak about Them to You"dynamic, what role can the director play with regards to the documentary? For example, objective versus subject?
the "I Speak about Them to You"dynamic is a popular way of creating a relationship with the audience and the filmmaker. The "I" makes the setting a bit personal. "Speak about" helps convey the filmmaker as a representative for a subject. "Them" separates the subject and the audience.
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