This is not as appealing as it would be to watch such events as they occur.
The photography as done in black and white seems to indicate that the film is in fact, black and white. It means that Murrow is white for his right actions and McCarthy is black due to his wrongful doings. McCarthy continues to do wrong with the film for accusing communists (innocent people) for their beliefs, as he does not have sufficient proof (Clooney amp. Heslov 39). The news crew and Murrow are right for standing up against McCarthy as nobody else shows the viewers why his actions are wrong. Photographic styles of black and white appear to make the theme of the movie. It made the audience more alert to the immediate environment within the movie. This is because black and white appears relatively boring and dull, the movie’s theme really stands out.
Irrespective of the film focusing on the conflict between historical figures, Senator Joseph McCarthy, and journalist extraordinaire Edward Murrow and the roles been played by actors under a dramatic script, the film does not fully fit as a documentary. The question brings to light various cinematographic elements of Clooneys film. Clooney, having directed and co-written the film chooses to depict the film in a manner that mimics direct cinema methodologies such as in other documentaries exhibited between the1950s and 1960s (Clooney amp. Heslov 35). First, the camera used in the film is hand-held and follows the action to plan the way the director takes black and white shots. It appears to capture all aspects of reality while they happen. The line is so blurry for an effective distinguisher between nonfiction and fiction. Sen. McCarthy is presented by himself through digital restoration of clips about him.
Past this technique, the film also includes various dramatic structures that are similar to those of a documentary. With love stories taking over, the