To analyze how documentary and experimental films employ various, mainly nonnarritive practices to convey ideas and stake out rhetorical positions.

Identify different expositional and imagin" rel="nofollow">inative practices employed in" rel="nofollow">in documentary and experimental films.Describe how documentary and experimental films may either expressly or in" rel="nofollow">indirectly assume a particular rhetorical position or how they may expand on perspectives and knowledge without a particular rhetorical stance. Explain" rel="nofollow">in how Moore cumulatively presents themes and episodes to effectively make his poin" rel="nofollow">ints in" rel="nofollow">in Bowlin" rel="nofollow">ing for Columbin" rel="nofollow">ine. Explain" rel="nofollow">in how Moore uses contrastive practices that have nuance and emphasize the various in" rel="nofollow">instances he presents. Describe how Moore imbeds his cumulative and contrastive form of exposition within" rel="nofollow">in a broad, often subtle, pattern of developin" rel="nofollow">ing his rhetorical position. Describe the overall contrastive construction of the basic segments in" rel="nofollow">in Koyaanisqatsi. Explain" rel="nofollow">in how Koyaanisqatsi is structured much like a musical symphony and how it employs rhythm and movement to convey ideas. Describe the effective use of imagin" rel="nofollow">inative practices in" rel="nofollow">in Koyaanisqatsi and explain" rel="nofollow">in how they support the main" rel="nofollow">in themes of the film.