Almost all of the first work on films and tapes can be classified as documentaries because they have documented factual events as they occurred . However, the term in its present sense was first used in 1926 by John Grierson to describe Robert Flahertys’ film about social life in the people of Samoa at the time. Since then, documentary making has come a long way with several political comments such as Leni Riefenstahl’s Triumph of the Will, Octavio Getino’s The Hours of the Ovens and Michael Moore’s very popular Fahrenheit 911. Most topics signed releases that allowed manufacturers to complete editorial control and ownership of images for each use from the start during the production process. The terms of these releases are generally determined by insurers, whose insurance is necessary for most television broadcasts and theatrical distribution. Perhaps because the terms of these releases were not theirs, filmmakers often gave their subjects more leeway than the strict conditions.

City of Gold, held on the National Film Board of ‘Canada by Wolf Koenig and Colin Low, includes photos taken in Dawson City in 1898 as part of live action on the reality of today’s city of Dawson. In terms of sections of library catalogs, City of Gold would be listed in “Canada”. In general, documentaries deal with something specific and factual and refer to public rather than private matters.

However, I think that the idea of defining the documentary as a receptive strategy should not deny the consideration of the cinematic text as the main focus. From the point of view of implementation, actors are different from both sides, documentaries depend on social people who have not really contacted actors. These differences illustrate the importance for both types and what they can offer viewers what they need from credibility to demonstrate misleading events or beliefs. Moreover, the viewer’s interpretation ultimately decides whether the film is considered a documentary or a fiction. The conventions of the film, that is, the characteristics that make it different from other forms, include narrative, sound and underlining, recreation, use of archive images and photos and direct interviews to build an audiovisual experience. Direct cinema, as made in the style of Cinéma vérité, wants to show the circumstances of an experience or event as accurately as possible without the filmmakers intervening in any way.

Both fiction and non-fiction films differ significantly from a simple duplication or duplication function. All deliberate changes, such as camera movements, cuts, composition, all kinds of adjustments that arise from human intervention and through the post-production process of organizing different soundtracks and visual tracks in a whole that was not there before. Time can condense and change chronology, add music, subtitles or voice-over, recordings can be intertwined or interrupted by wipes, etc. In general, a film is nothing more than a film without camerawork, cuts or editing, and it is not a fiction film or documentary if it is nothing more than a “representation” of what happened in front of a lens. A documentary film director can adopt or try to be the so-called “observational” way of filming as “a fly on the wall”, but this is a process that requires many options, both in the recording and editing phases. It’s not just about recording what’s inside; It’s also about selecting, presenting and editing in such a way that we see that the current terms are incorrect and we’re starting to look for alternatives that should occur.

If no student proposes documentary, add the word to their list and let them know that they are going to make a mini unit in documentaries and their conventions. Together, the class will investigate what makes a documentary a documentary and whether documentaries tell the truth or not. D) If time permits, the class may generate a list of additional news conventions (p. ex., certain camera angles, lighting, editing, ดูหนังฟรี interview style, the way reporters are integrated.). You can also pinpoint and discuss stereotypes by asking about the gender or race of student image news anchors or discussing which anchors they wear and which messages clothing communicates. Robert Flaherty’s romantic anthropological documentaries about other cultures, such as Nanook of the North, showed the commercial possibilities of the documentary format.

Categories: Home