VLVL2 (10) Justrice and Progress, 200

[Paul Nightingale]

(200.7-10) "... just trying to shoot some old WPA murals about Justice and
Progress if she could figure a way to compensate for the colors, which had
darkened with the years since the New Deal ..."

A 'traditional' documentary, in other words, by way of compensation. The
radical aesthetic of 24fps is anything but traditional, of course; even if
their aspiration is traditionally modernist, an articulation of Truth (and
traditionally modernist in that it believes it has overcome the failings of
whatever preceded it).

The irony is that they believe in "the ability of close-ups to reveal and
devastate" (195) by circumventing the attempted obfuscations of language
(eg, the employer's face, 199; or the language of alleged prosecutorial
misconduct perhaps). However, "Justice and Progress" (capitalised, born of
the 1930s) remain elusive, precisely because the image has deteriorated: and
"darkened" introduces a nourish note that both recalls the "old-movie
private eye's office, seedy and picturesque" (192), and also comments on the
workings of the grand jury in the paragraph above.

"... her faithful 16mm Canon Scoopic ..."

http://www.marriottworld.com/ccm%20articles/scoopic.htm
http://www.geocities.com/erkanumut2/16m.html