Marie’s Dictionary is a short interview-based film with verité scenes by Go Project Films, the film production arm of the Global Oneness Project, a multimedia education platform.
This film is about Marie Wilcox, the last fluent speaker of the Wukchumni language, and her efforts to keep the language alive. Here are 6 ways the filmmakers document Marie’s story to reveal steadfastness and her commitment to family and history.
1. Using a slider to introduce motion in a film full of subtle movements. (00:39)
The filmmakers use a slider throughout the video to bring a sense of smooth cinematic movement to an overall still film. One example is the second shot of the film, a wide shot behind Marie that dollys-in on her sitting at the computer. This dolly shot serves to bring the viewer closer to what occupies Marie’s time. The composition of this shot is also lovely, using the white fridge and white corner to frame Marie. The quality of light is soft and the scenes are all somewhat dim, suggesting a reliance on natural light.
2. A four-shot sequence to introduce crucial information (00:43)
This is a foundational element of filmmaking done well: the filmmakers use 3-4 shots to create tight sequences throughout. Here is one example:
SHOT 1: WS, dolly-in from behind (same as image above) – establishes the scene
SHOT 2: ECU of the keyboard – shows in-the-moment action
SHOT 3: MS of Marie looking at the computer screen – shows who is acting
SHOT 4: CU of scrolling through the computer screen – shows what is being typed
3. A motivated tracking shot to connect the new character with Marie. (5:49)
As a new character enters the room, a motivated tracking shot follows the glass of water to Marie as the youth hands her the glass. Though the viewer doesn’t know who this is yet, this action (and the tracking motion) conveys a tenderness between Marie and the youth.
4. An unmotivated tilt to reveal a relationship. (6:10 – 6:20)
This lovely unmotivated shot begins on the new character’s face, lingering for two seconds, before slowly tilting down and focusing on Marie, ending in a close-up, over-the-shoulder shot. This shot establishes the relationship between the two as Marie’s voiceover says, “Me and my grandson are trying to record our dictionary from A to Z.”
5. Sound/picture juxtaposition to establish remoteness. (6:48)
It would be easy to see this as a pretty landscape shot, but Marie’s words color this shot with a tinge of loneliness. She says, “No one seems to want to learn…”
6. Ending the way it began: a reverse dolly shot to exit Marie’s world. (8:25)
This shot matches the frame from #1 (see first image) but in reverse to draw the viewer out from Marie’s world. The film ends on a medium close-up of Marie recording a story in the Wukchumni language – the same shot as the opening frame. It’s a neat way to bookend Marie’s story.
I appreciate the different ways the filmmakers introduced movement into this story full of subtle, yet significant, actions. Paired with the lesson plan, it creates a compelling educational experience for students and the general public.
–Alisha Wang Saville