To what extent has digital technology been essential to the production of ‘Amy’ [20]

Digital technology was essential to the production of ‘Amy’, therefore proving that regarding the critical debate, the significance of digital technology is high. For example, many sequences in ‘Amy’ begin with an establishing shot that was shot using a drone. Like, the shot of Camden from above. This could not have been done using film, as it’s too heavy, and is an example of digital technology being needed to create meaning. In this case, to establish where we are in the story of Amy’s life. Drone footage is also necessary later on in the movie, therefore being another example of the significance of digital technology. Such as how the opening of the ending scene is shot with a drone that goes from Amy’s house and up into the air, a visual metaphor that emphasises how she was forced from her home to the airport when paired with the non-diegetic voice over that explained the situation. This shot was therefore constructed to get across this meaning, and the idea that the people who forced Amy to the airport were wrong in doing so. This links to Michael Moore’s documentary theory and his documentary making/style, as he often uses film form elements like certain pieces of cinematography to evoke a certain emotion in the audience, just like this bit of drone footage in Amy. Like Moore, ‘Amy’ can be considered a biased film to counteract preconceived media representations and opinions of Amy. Hence, why they might have chosen the opening to be archive footage of Amy as a talented child, represented as an ordinary human who isn’t the focus of the video, to show us another side to her and a side that you can’t dislike. This contrasts to Longinotto’s documentary style and theory, as she focuses on her documentaries being as non-fictional and as real as possible. 

Digital technology was also shown as essential to the production of ‘Amy’ in other ways. In that the majority of the archive footage/found footage that made up the movie was filmed or taken using digital technology. Such as, the use of phones. This opposed the paparazzi images in some cases. Such as, the picture of Amy with a homeless person was clearly taken on a phone. This is noticeable due to the performance of Amy playing up to the camera, and how close the photo was taken to Amy. This picture represents Amy in a positive light, as her being nice to a homeless man has positive connotations. To contrast, the paparazzi images have the opposite effect. Such as, the long shot of Amy in the park which was taken using a long lense emphasising the sense of being spied on. This photo is then edited with the Ken Burns effect, another example of digital technology, which shows Amy’s outfit and inviting judgment, especially when paired with the non-diegetic voice over discussing her promiscuity. It’s possible that the film used digital technology in this way not to judge Amy but to judge the media and paparazzi – the director may have wanted to highlight how mean media could be, rather than judge Amy and encourage us to judge her too. Phones are also used during the performance section, when Amy is refusing to sing while on stage. The use of found footage shot on phones positions us with the audience, meaning when the crowd goes from cheering to yelling ‘sing’ and other mean things so quickly, the feelings from this and the connotations are heightened. As someone who has been watching the film, having seen Amy’s journey to this point, being positioned in the crowd probably makes the audience member uncomfortable, and is a moment that the film invites the audience to side with Amy. This is against Longinotto’s documentary making, as although she uses functional film form elements her work is unbiased. However, constructed realism will always be present no matter how hard a documentary film maker tries to make it realistic as there will always be an element of construction.