During the lecture on the 5/10 we watched a short film called ‘Terminal Bar’ by Stefan Nadelman (2002), the film centred around a small bar in New York that had a ‘rough’ aesthetic to match its customers. The film also focused on a series of portraits that had been photographed by someone who worked behind the bar and therefore shows two forms of documentation through media between generations.

The processes involved in creating a short film like this would be centred around the photographs taken and displaying them in a way that paired with the filmed narrative provided by the photographer. Another element to consider would be the transitions and being able to use a quality programme so that it didn’t come across as an amateur film, the way in which Nadelman has presented the photo’s in the final cut works in a way that uses the photographs to create moving sequences that feel extremely  close to that of a panning shot and also manages to create three-dimensional sets through the images.

Another area to consider would be the chronological presentation of groups of people who would have visited at the same time as each other, and whether or not there would be a fluidity from the beginning of the documented images to how the bar is now or if the focus would be on how the bar was when the images were taken. The difference in directions and choices that Stefan Nadelman took allowed for the documentary to have a lighter and more fluid feel than if it was a point blank presentation of the portraits and scenes photographed.