Topic: How true crime documentaries sensationalize and interpret real-life occurrences and how their portrayals compare to what actually happened.

· Beware the Slenderman (HULU): The mythos of a faceless, digital-age bogeyman known as Slenderman was created on the Internet, but his influence was felt in the real world when two 12-year-old girls lured their friend into the woods for a brutal murder. (Z)

· Death By Fire: In 2004 the state of Texas executed a man convicted of murder by arson. But Cameron Todd Willingham was convicted based on fire science that has since been debunked. New forensics reports have shown that the fire Willingham was supposed to have caused was an accidental fire. FRONTLINE takes a look back at this fascinating case with far-reaching impacts. (O)

· Mind Over Murder: Here’s your crime-solver 101 class. In this special from NET in Nebraska, viewers learn the psychological aspects of criminal forensics using true crime examples. What are the techniques? How can this work help prevent violent crimes? How can we ever watch a fictional police procedural after this? https://www.pbs.org/video/net-nebraska-news-mind-over-murder/ (J)

· Murder to mercy; The Cyntoia Brown Story (Netflix): 16-years-old Cyntoia Brown is sentenced to life in prison after killing 43 years-old Johnnny Allen who agreed to pay her for sex. (J)

· The Phantom (Netflix): Carlos Deluna was arrested for murder, and protested his innocence until he was executed. (O)

· 3 ½ minutes; Ten Bullets (Netflix): Jordan Davis, a black 17-year-old, and three friends drove into a gas station in Jacksonville, Fla. Davis and his friends got into a verbal altercation with white 45-year-old Michael Dunn, who took issue with the volume of the teenagers’ rap music. When Davis refused to turn down the music, Dunn opened fire on the car of unarmed teenagers. He fired 10 bullets, three of which hit Davis, who died at the scene. Dunn fled but was taken into custody the next day. He claimed that he shot in self-defense. (A)

Abstract: (O)
Introduction: (O)
Literature Review:
Despite the prolific popularity of true crime within modern media, there has been little research done into why the genre is so well liked, nor the ways in which true crime creators sensationalize their stories in order to bring in more fans and attention. Ryan Broll, in his paper “Dark Fandoms: An Introduction and Case Study,” uses analysis of social media poats about Columbine to find some answers into why these “Dark Fandoms,” as he calls them, exist. He asserts that a facination around death, violence, and vicitmization is a staple in american culture. A “wound culture,” as referred to by Mark Seltzer (2008) in his own review of the genre and its fans – a culture, that, in the wake of the incredibly violent and truamatic nature of our modern world, finds comfort in comisseration through the consumption of this specific type of media. Broll’s findings go even deeper, showing that many of the members of the “Columbiners” sub-reddit found themselves to have an intense morbid fascination with the shooting, and the two boys who were involved. Others seemed to feel a deep sympathy for the boys, and an even smaller few appeared to glorify them, although most members were generally self-relfective and quesntioned their facintations, and any posts “glorifying” these boys were flagged as violating community norms. Despite these distinct differences between members and their own views on the shooting, this “Dark Fandom,” seemed to have their own specific sense of these boys based on the research they have done, analyzing their diary entries and actions like one would a character on a screen. Not only that, but “fan theories” about the event are common as well, in which users theorize about the events of that day and make further interpretations about a significant and traumatic piece of American history (Broll, 2019). The way this group is referred to as “Dark Fandom,” makes a great deal of sense when you consider the ways in which these users interact, psychoanalyzing and theorizing about real events and real people like one would a TV show or a movie. As “fandom” paricitlarly refers to a fan group of a subsection of media and pop culture, the attitudes and practices are not much different. Dramatizing these events through a “docuseries” or film, doesn’t help, as these true stories about real events and real people are presented through a fctional lens creating a disconnect that could potentially danger the work of law enforcement, the lives of those who were involved, and even the fucntion of the criminal juistuce as a whole.

Because the True Crime genre is built on the stories of real people, it is no surprise that the real identities of the offenders, victims, family members, police officers, lawyers, judges, etc. involved with the event/events are rarely hidden or changed for the sake of “authentic” dramaticized story telling. Camera crews are also known to follow police through investigations, film arrests, and document trials, all things which not only potentially infirges on the defendant’s rights (Irwin, 2017), but also bring up an interesting conversation about “Rights of Publicity” and how much True Crime crews should legally be allowed to document in the pursuit of a story (Williams, 2019). This profit from intense documentation and encorachnment on private lives has led to filmmakers to go to ecremes when it comes to sharing private data, including, but not limited to sharing artwork or the content of someone’s diary without blatant consent. Those orginally involved with these stories are also sometimes majorally effected in other ways, such as being harassed or even recieving death threats at the result of a new film or docuserries coming out (Marsh, 2016).

Murder, They Wrote – Laura Marsh: Creating a nature of excitement around discovery that perpetuates viewing tragedy as a form of entertianment. (Marsh, 2016).

Methods
The present research team chose to focus on True Crime documentaries that featured murder as the central investigation for consistency of theme and ease of study. The general nature of the crime beyond the act of murder, including whether or not it had been solved, the number of people who had been murdered, or the mechanism of crime was not considered. It was also decided that, due to the time constraints of the project, any miniseries or documentaries with more than one episode would be excluded from consideration. Each film was also required to be accessible to all members of the team, which reserved the search to Netflix, Hulu, and any other streaming service or website that did not require a subscription and/or a paywall. With these limitations in mind, a list of eighteen films was compiled and sorted alphabetically by the group through a general search of available and popular True Crime documentaries recommended on the web. Using the method of systematic random sampling, six of the eighteen films were picked for the study.

Each film was initially reviewed by each of the researchers qualitatively, taking notes on themes, feelings, and techniques used by the documentary’s creators in order to garner a specific reaction or opinion. Operators were then given one or two of the movies to re-analyze on a quantitative basis. Using a list of narrative tools commonly used by documentary directors from the paper “Documentary Film Techniques,” (Woodland Hills School District), operators made note of every time voiceover, archival footage, reenactment, direct/indirect interviews, wallpaper technique, actuality, exposition, and montages were used in each movie. Voiceover can be described as the use of disembodied narration over images within the film. Archival footage, also commonly referred to as “stock footage,” is any footage taken from a databank that relates to the information presented but does not require additional filming. Reenactment involves actors and staging in order to recreate an event or events for the film. Interviews, whether direct, specifically for the documentary or indirect, from an outside source with relevant information, require discussions with reporters/family members/friends/the defendant/victim themselves, using specific lines of questioning to gain insight. Wallpaper technique refers to the creation of images by a filmmaker in relation to narration, especially of abstract concepts, while actuality involves the use of raw footage from real-life events. Finally, exposition refers to an explanation of the themes or events of a film, and montage is the use of short specific sequences of multiple images/techniques to convey one specific idea. Alongside these notes, if applicable, the perspective of each element was recorded, whether giving information in relation to the victim, or the defendant. The instances in which the name of the victim and the name of the defendant/defendants were said aloud within the documentary were also recorded. Quantitative results were compiled and analyzed through statistical analysis using Excel and qualitative notes were shared between operators to give a comprehensive collection of opinions and reactions to be discussed at the end of the present study.

Based on the methods above, it was hypothesized that these techniques would be used to convey a specific perspective, either that of the victim or that of the defendant. In other words, the narrative itself would be dependant on the ways in which these tools were used. Researchers also theorized that there would be a correlation between the perspective and the number of times each name was used. If the story was catered towards the defendant’s side, then the defendant’s name would be used more often. In contrast, if the story was catered towards the victim’s side, then the victim’s name would be used more often. Comment by Zander Daigle: Hypotheses are in this area here, just so we are all clear and can make sure the results and discussion are based around these ideas.

Results:
To assess the hypothesis

Figure 1: Data Collected from Six True Crime Documentaries on Techniques Used

True Crime Documentary

Beware the Slenderman

3 1/2 minutes, Ten Bullets

Death by Fire

The Phantom

Murder of Mercy: The Cyntoia Brown Story

Mind over Murder

Usage of victim’s name

18

72

7

6

5

5

Usage of defendant’s name

93

35

51

21

20

3

Voiceover w/victim

0

6

1

0

10

10

Archival footage w/victim

2

4

1

1

13

5

Reenactment w/victim

0

0

0

0

9

5

Interviews w/victim

3

10

7

5

25

15

Montages w/victim

0

8

2

2

12

5

Exposition w/victim

0

1

1

1

1

4

Wallpaper w/victim

0

0

0

0

5

5

Actuality w/victim

0

13

2

0

0

2

Voiceover w/defendant

3

3

30

0

7

7

Archival footage w/defendant

15

7

3

2

5

5

Reenactment w/defendant

0

0

0

3

5

5

Interviews w/defendant

46

0

69

29

6

6

Montages w/defendant

4

1

28

7

6

6

Exposition w/defendant

0

0

1

1

5

5

Wallpaper w/defendant

0

0

28

12

3

3

Actuality w/defendant

0

11

5

6

0

0

*Modes will demonstrate which technique was used the most in each true crime documentary. To calculate the mode the data gathered from the usage of the victim’s name and the usage of the defendant’s name will not be used.

Figure 2: Beware the Slenderman Usage of Techniques

Mode: How often were direct/indirect interviews used when discussing the defendant. Researchers discovered the usage was 46 times.

Figure 4: Death by Fire Usage of Techniques

Mode: How often were direct/indirect interviews used when discussing the defendant. Researchers discovered the usage was 69 times.

Figure 6: Murder of Mercy: The Cyntoia Brown Story Usage of Techniques

Mode: How often were direct/indirect interviews used when discussing the victim.. Researchers discovered the usage was 25 times.

Figure 8: Average Usage of Techniques Across True Crime Documentaries Measured

Mode: How often were direct/indirect interviews used when discussing the defendant. Researchers discovered the usage was 26 times.

Figure 3: 3 ½ minutes, Ten Bullets Usage of Techniques

Mode: How often was actuality used when discussing the victim. Researchers discovered the usage was 13 times.

Figure 5: The Phantom Usage of Techniques

Mode: How often were direct/indirect interviews used when discussing the defendant. Researchers discovered the usage was 29 times

Figure 7: Mind over Murder Usage of Techniques

Mode: How often were direct/indirect interviews used when discussing the victim.. Researchers discovered the usage was 15 times.

Discussion: (J) Comment by Zander Daigle: were our hypotheses supported?(will highlight in the methods) What were the limitations of this study? How could this have been improved on? What does this mean for future research? General thoughts/feelings – Dr. Brooke also has some of this laid out in her rubric for the project so I would look at that too.
References
Broll, R. (2019). Dark Fandoms: An Introduction and Case Study. Deviant Behavior, 41(6), 792–804. https://doi.org/10.1080/01639625.2019.1596453

Bruzzi, S. (2016). Making a genre: the case of the contemporary true crime documentary. Law and Humanities, 10(2), 249–280. https://doi.org/10.1080/17521483.2016.1233741

Daniel, H. B. (Director). (2020). Murder to Mercy; The Cyntoia Brown Story [Film]. Netflix.

Irene, T. B. (Director). (2016). Beware the Slenderman [Film]. HBO Films.

Irwin, J. (2017). Good TV Makes Bad Justice: How the Rules of Professional Conduct Can Protect Fair Trial Rights. Iowa Law Review, 102, 2325–2356. https://heinonline.org/HOL/Page?collection=journals&handle=hein.journals/ilr102&id=2370&men_tab=srchresults

Jessie, D. (Director). (2010). FRONTLINE: Death By Fire [Film]. WGBH-TV.

Marc, S. (Director). (2015). 3½ Minutes, Ten Bullets [Film]. Candescent Films. Motto Pictures.

Marsh, L. (2016). Murder, They Wrote. Dissent, 63(2), 6–11. https://doi.org/10.1353/dss.2016.0040

Mind Over Murder [Film]. (2010). NEBRASKA PUBLIC MEDIA NEWS.

Patrick, F. (Director). (2020). The Phantom [Film]. Oxford Films.

Seltzer, M. (2008). Murder/Media/Modernity. Canadian Review of American Studies, 38(1), 11–41. https://doi.org/10.3138/cras.38.1.11

WERNER, W. G. (2016). Justice on Screen – A Study of Four Documentary Films on the International Criminal Court. Leiden Journal of International Law, 29(4), 1043–1060. https://doi.org/10.1017/s0922156516000492

Williams, A. (2019). SHOCKINGLY EVIL: THE CRUEL INVASIVE APPROPRIATION AND EXPLOITATION OF VICTIMS’ RIGHTS OF PUBLICITY IN THE TRUE CRIME GENRE. J. INTELL PROP. L., 27(2), 303–327.

Woodland Hills School District. (2016). DOCUMENTARY FILM TECHNIQUES. https://www.whsd.net/userfiles/1441/Classes/54973/DOCUMENTARY%20FILM%20TECHNIQUESx.pdf

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Home>Social Science homework help>Group project turn in asap about 3 pages
Topic: How true crime documentaries sensationalize and interpret real-life occurrences and how their portrayals compare to what actually happened.

· Beware the Slenderman (HULU): The mythos of a faceless, digital-age bogeyman known as Slenderman was created on the Internet, but his influence was felt in the real world when two 12-year-old girls lured their friend into the woods for a brutal murder. (Z)

· Death By Fire: In 2004 the state of Texas executed a man convicted of murder by arson. But Cameron Todd Willingham was convicted based on fire science that has since been debunked. New forensics reports have shown that the fire Willingham was supposed to have caused was an accidental fire. FRONTLINE takes a look back at this fascinating case with far-reaching impacts. (O)

· Mind Over Murder: Here’s your crime-solver 101 class. In this special from NET in Nebraska, viewers learn the psychological aspects of criminal forensics using true crime examples. What are the techniques? How can this work help prevent violent crimes? How can we ever watch a fictional police procedural after this? https://www.pbs.org/video/net-nebraska-news-mind-over-murder/ (J)

· Murder to mercy; The Cyntoia Brown Story (Netflix): 16-years-old Cyntoia Brown is sentenced to life in prison after killing 43 years-old Johnnny Allen who agreed to pay her for sex. (J)

· The Phantom (Netflix): Carlos Deluna was arrested for murder, and protested his innocence until he was executed. (O)

· 3 ½ minutes; Ten Bullets (Netflix): Jordan Davis, a black 17-year-old, and three friends drove into a gas station in Jacksonville, Fla. Davis and his friends got into a verbal altercation with white 45-year-old Michael Dunn, who took issue with the volume of the teenagers’ rap music. When Davis refused to turn down the music, Dunn opened fire on the car of unarmed teenagers. He fired 10 bullets, three of which hit Davis, who died at the scene. Dunn fled but was taken into custody the next day. He claimed that he shot in self-defense. (A)

Abstract: (O)
Introduction: (O)
Literature Review:
Despite the prolific popularity of true crime within modern media, there has been little research done into why the genre is so well liked, nor the ways in which true crime creators sensationalize their stories in order to bring in more fans and attention. Ryan Broll, in his paper “Dark Fandoms: An Introduction and Case Study,” uses analysis of social media poats about Columbine to find some answers into why these “Dark Fandoms,” as he calls them, exist. He asserts that a facination around death, violence, and vicitmization is a staple in american culture. A “wound culture,” as referred to by Mark Seltzer (2008) in his own review of the genre and its fans – a culture, that, in the wake of the incredibly violent and truamatic nature of our modern world, finds comfort in comisseration through the consumption of this specific type of media. Broll’s findings go even deeper, showing that many of the members of the “Columbiners” sub-reddit found themselves to have an intense morbid fascination with the shooting, and the two boys who were involved. Others seemed to feel a deep sympathy for the boys, and an even smaller few appeared to glorify them, although most members were generally self-relfective and quesntioned their facintations, and any posts “glorifying” these boys were flagged as violating community norms. Despite these distinct differences between members and their own views on the shooting, this “Dark Fandom,” seemed to have their own specific sense of these boys based on the research they have done, analyzing their diary entries and actions like one would a character on a screen. Not only that, but “fan theories” about the event are common as well, in which users theorize about the events of that day and make further interpretations about a significant and traumatic piece of American history (Broll, 2019). The way this group is referred to as “Dark Fandom,” makes a great deal of sense when you consider the ways in which these users interact, psychoanalyzing and theorizing about real events and real people like one would a TV show or a movie. As “fandom” paricitlarly refers to a fan group of a subsection of media and pop culture, the attitudes and practices are not much different. Dramatizing these events through a “docuseries” or film, doesn’t help, as these true stories about real events and real people are presented through a fctional lens creating a disconnect that could potentially danger the work of law enforcement, the lives of those who were involved, and even the fucntion of the criminal juistuce as a whole.

Because the True Crime genre is built on the stories of real people, it is no surprise that the real identities of the offenders, victims, family members, police officers, lawyers, judges, etc. involved with the event/events are rarely hidden or changed for the sake of “authentic” dramaticized story telling. Camera crews are also known to follow police through investigations, film arrests, and document trials, all things which not only potentially infirges on the defendant’s rights (Irwin, 2017), but also bring up an interesting conversation about “Rights of Publicity” and how much True Crime crews should legally be allowed to document in the pursuit of a story (Williams, 2019). This profit from intense documentation and encorachnment on private lives has led to filmmakers to go to ecremes when it comes to sharing private data, including, but not limited to sharing artwork or the content of someone’s diary without blatant consent. Those orginally involved with these stories are also sometimes majorally effected in other ways, such as being harassed or even recieving death threats at the result of a new film or docuserries coming out (Marsh, 2016).

Murder, They Wrote – Laura Marsh: Creating a nature of excitement around discovery that perpetuates viewing tragedy as a form of entertianment. (Marsh, 2016).

Methods
The present research team chose to focus on True Crime documentaries that featured murder as the central investigation for consistency of theme and ease of study. The general nature of the crime beyond the act of murder, including whether or not it had been solved, the number of people who had been murdered, or the mechanism of crime was not considered. It was also decided that, due to the time constraints of the project, any miniseries or documentaries with more than one episode would be excluded from consideration. Each film was also required to be accessible to all members of the team, which reserved the search to Netflix, Hulu, and any other streaming service or website that did not require a subscription and/or a paywall. With these limitations in mind, a list of eighteen films was compiled and sorted alphabetically by the group through a general search of available and popular True Crime documentaries recommended on the web. Using the method of systematic random sampling, six of the eighteen films were picked for the study.

Each film was initially reviewed by each of the researchers qualitatively, taking notes on themes, feelings, and techniques used by the documentary’s creators in order to garner a specific reaction or opinion. Operators were then given one or two of the movies to re-analyze on a quantitative basis. Using a list of narrative tools commonly used by documentary directors from the paper “Documentary Film Techniques,” (Woodland Hills School District), operators made note of every time voiceover, archival footage, reenactment, direct/indirect interviews, wallpaper technique, actuality, exposition, and montages were used in each movie. Voiceover can be described as the use of disembodied narration over images within the film. Archival footage, also commonly referred to as “stock footage,” is any footage taken from a databank that relates to the information presented but does not require additional filming. Reenactment involves actors and staging in order to recreate an event or events for the film. Interviews, whether direct, specifically for the documentary or indirect, from an outside source with relevant information, require discussions with reporters/family members/friends/the defendant/victim themselves, using specific lines of questioning to gain insight. Wallpaper technique refers to the creation of images by a filmmaker in relation to narration, especially of abstract concepts, while actuality involves the use of raw footage from real-life events. Finally, exposition refers to an explanation of the themes or events of a film, and montage is the use of short specific sequences of multiple images/techniques to convey one specific idea. Alongside these notes, if applicable, the perspective of each element was recorded, whether giving information in relation to the victim, or the defendant. The instances in which the name of the victim and the name of the defendant/defendants were said aloud within the documentary were also recorded. Quantitative results were compiled and analyzed through statistical analysis using Excel and qualitative notes were shared between operators to give a comprehensive collection of opinions and reactions to be discussed at the end of the present study.

Based on the methods above, it was hypothesized that these techniques would be used to convey a specific perspective, either that of the victim or that of the defendant. In other words, the narrative itself would be dependant on the ways in which these tools were used. Researchers also theorized that there would be a correlation between the perspective and the number of times each name was used. If the story was catered towards the defendant’s side, then the defendant’s name would be used more often. In contrast, if the story was catered towards the victim’s side, then the victim’s name would be used more often. Comment by Zander Daigle: Hypotheses are in this area here, just so we are all clear and can make sure the results and discussion are based around these ideas.

Results:
To assess the hypothesis

Figure 1: Data Collected from Six True Crime Documentaries on Techniques Used

True Crime Documentary

Beware the Slenderman

3 1/2 minutes, Ten Bullets

Death by Fire

The Phantom

Murder of Mercy: The Cyntoia Brown Story

Mind over Murder

Usage of victim’s name

18

72

7

6

5

5

Usage of defendant’s name

93

35

51

21

20

3

Voiceover w/victim

0

6

1

0

10

10

Archival footage w/victim

2

4

1

1

13

5

Reenactment w/victim

0

0

0

0

9

5

Interviews w/victim

3

10

7

5

25

15

Montages w/victim

0

8

2

2

12

5

Exposition w/victim

0

1

1

1

1

4

Wallpaper w/victim

0

0

0

0

5

5

Actuality w/victim

0

13

2

0

0

2

Voiceover w/defendant

3

3

30

0

7

7

Archival footage w/defendant

15

7

3

2

5

5

Reenactment w/defendant

0

0

0

3

5

5

Interviews w/defendant

46

0

69

29

6

6

Montages w/defendant

4

1

28

7

6

6

Exposition w/defendant

0

0

1

1

5

5

Wallpaper w/defendant

0

0

28

12

3

3

Actuality w/defendant

0

11

5

6

0

0

*Modes will demonstrate which technique was used the most in each true crime documentary. To calculate the mode the data gathered from the usage of the victim’s name and the usage of the defendant’s name will not be used.

Figure 2: Beware the Slenderman Usage of Techniques

Mode: How often were direct/indirect interviews used when discussing the defendant. Researchers discovered the usage was 46 times.

Figure 4: Death by Fire Usage of Techniques

Mode: How often were direct/indirect interviews used when discussing the defendant. Researchers discovered the usage was 69 times.

Figure 6: Murder of Mercy: The Cyntoia Brown Story Usage of Techniques

Mode: How often were direct/indirect interviews used when discussing the victim.. Researchers discovered the usage was 25 times.

Figure 8: Average Usage of Techniques Across True Crime Documentaries Measured

Mode: How often were direct/indirect interviews used when discussing the defendant. Researchers discovered the usage was 26 times.

Figure 3: 3 ½ minutes, Ten Bullets Usage of Techniques

Mode: How often was actuality used when discussing the victim. Researchers discovered the usage was 13 times.

Figure 5: The Phantom Usage of Techniques

Mode: How often were direct/indirect interviews used when discussing the defendant. Researchers discovered the usage was 29 times

Figure 7: Mind over Murder Usage of Techniques

Mode: How often were direct/indirect interviews used when discussing the victim.. Researchers discovered the usage was 15 times.

Discussion: (J) Comment by Zander Daigle: were our hypotheses supported?(will highlight in the methods) What were the limitations of this study? How could this have been improved on? What does this mean for future research? General thoughts/feelings – Dr. Brooke also has some of this laid out in her rubric for the project so I would look at that too.
References
Broll, R. (2019). Dark Fandoms: An Introduction and Case Study. Deviant Behavior, 41(6), 792–804. https://doi.org/10.1080/01639625.2019.1596453

Bruzzi, S. (2016). Making a genre: the case of the contemporary true crime documentary. Law and Humanities, 10(2), 249–280. https://doi.org/10.1080/17521483.2016.1233741

Daniel, H. B. (Director). (2020). Murder to Mercy; The Cyntoia Brown Story [Film]. Netflix.

Irene, T. B. (Director). (2016). Beware the Slenderman [Film]. HBO Films.

Irwin, J. (2017). Good TV Makes Bad Justice: How the Rules of Professional Conduct Can Protect Fair Trial Rights. Iowa Law Review, 102, 2325–2356. https://heinonline.org/HOL/Page?collection=journals&handle=hein.journals/ilr102&id=2370&men_tab=srchresults

Jessie, D. (Director). (2010). FRONTLINE: Death By Fire [Film]. WGBH-TV.

Marc, S. (Director). (2015). 3½ Minutes, Ten Bullets [Film]. Candescent Films. Motto Pictures.

Marsh, L. (2016). Murder, They Wrote. Dissent, 63(2), 6–11. https://doi.org/10.1353/dss.2016.0040

Mind Over Murder [Film]. (2010). NEBRASKA PUBLIC MEDIA NEWS.

Patrick, F. (Director). (2020). The Phantom [Film]. Oxford Films.

Seltzer, M. (2008). Murder/Media/Modernity. Canadian Review of American Studies, 38(1), 11–41. https://doi.org/10.3138/cras.38.1.11

WERNER, W. G. (2016). Justice on Screen – A Study of Four Documentary Films on the International Criminal Court. Leiden Journal of International Law, 29(4), 1043–1060. https://doi.org/10.1017/s0922156516000492

Williams, A. (2019). SHOCKINGLY EVIL: THE CRUEL INVASIVE APPROPRIATION AND EXPLOITATION OF VICTIMS’ RIGHTS OF PUBLICITY IN THE TRUE CRIME GENRE. J. INTELL PROP. L., 27(2), 303–327.

Woodland Hills School District. (2016). DOCUMENTARY FILM TECHNIQUES. https://www.whsd.net/userfiles/1441/Classes/54973/DOCUMENTARY%20FILM%20TECHNIQUESx.pdf

Applied Sciences
Architecture and Design
Biology
Business & Finance
Chemistry
Computer Science
Geography
Geology
Education
Engineering
English
Environmental science
Spanish
Government
History
Human Resource Management
Information Systems
Law
Literature
Mathematics
Nursing
Physics
Political Science
Psychology
Reading
Science
Social Science
Liberty University
New Hampshire University
Strayer University
University Of Phoenix
Walden University
Home
Homework Answers
Blog
Archive
Tags
Reviews
Contact
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Copyright © 2022 SweetStudy.com