Made In America Moral

Aural As previously mentioned, Corner states that the aural category of documentary aesthetics is strongly linked to images and because of this could be considered a secondary aesthetic. While I agree that documentary television was considered less aesthetically inclined during the early 2000s, I’d argue that recent television documentaries, like O.J.: Made in America, have reversed what Corner is suggesting. Edelman often allows the aural contents of the narrative to take the lead in parts of the documentary to produce an effective understanding of character. During Part One of the series Simpson’s natural characteristics of charm and self-preservation is under review. To depict this aspect of Simpson, Edelman chose a childhood memory from …show more content…
99) Meaning, the pictorial aspects of editing and temporality are responsible for assembling sub-narratives that support and file into a single, comprehensive overarching narrative. In Part Four of O.J.: Made in America Edelman focus an observational eye of the media’s involvement in the The People vs. O.J. Simpson trial. This was the first trial to have cameras in the courtroom and be broadcast live, adding fuel to the already out of control media frenzy. A strong criticism of the media’s coverage of the trial, which is discussed in the documentary, is the spectacular fascination with Simpson, an alleged murderer, and the dismissal of the victims, Brown and Goldman. Edelman honors what the media missed by revealing the seriousness of the crime, perhaps in full consecutive details for the first time. The pain, horror, and grief that Brown and Goldman’s family and friends experienced is sensitively portrayed through emotional interviews from Brown’s sisters, friends, and Goldman’s father as they remember the loved one they lost. Pushing the murder narrative even further and, simultaneously giving the people what they want, Edelman includes the uncensored bloody crime scene photographs three separate times. In Part Three the first few images of the double homicide are shown quickly and close up as L.A.P.D. Detective, Tom Lange, describes the scene as a “very violent confrontation. Rage.” At this point in the narrative only the evidence and procedural steps taken by the L.A.P.D. are discussed. The second approach to the Brown/ Goldman murders appears in Part Four of the documentary. This vantage point of the narrative is told by L.A.P.D. Detective and personal friend to