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Creative process for film making
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Doubling Reality: Artifice and Self-Reflexivity in Non-Fiction Film The non-fiction film is the original creation at the crossroad between cinema and authenticity. It is traditionally considered to be the truest of any art form by focusing on perceived reality, whereas fictional narratives necessarily fabricate conscious experiences for the application of style and meaning. Documentary films have a considerably more complex signification than fictional works because they propose the viewer’s reality as the film’s diegesis, two areas that are disparate in works of fiction. The ultimate goal of non-fiction film must be to come as close to portraying reality as possible. There exists, however, a great deal of deception in the act of conjuring or doubling reality for a filmic endeavor. This deceptive practice combines and confuses the two realms. Non-fiction films use ambiguous or duplicated reality as a theme to cast self-reflexive awareness on the cinematic processes. (Nichols 12-15) The question of objectivity arises in this pursuit as it does in any expressive form. The very essence of what the viewer believes himself to see is constantly challenged by a suspected subjectivity. Since the angle or distance at which something is seen can change its entire meaning, it is quite possible that reality is impossible to obtain in any circumstance. The theories of Roland Barthes, a 20th century literary critic, are the basis for the dilemma posed by the possible conflicts of the camera and what is real. He explains the photograph as something that “always carries its referent with itself.” He goes on to say that because of this relationship, the image is a constant reminder of that which it represents. For Barthes, ... ... middle of paper ... ...ambiguous relationship between reality and diegetic authenticity. 11 Sources Cited Barsam, Richard M. Non-Fiction Film: A Critical History. Bloomington, IN: Indiana University Press, 1992. Domarchi, Jean and Jacwques Doniol-Valcroze, Jean-Luc Godard, Pierre Kast, Jacques Rivette, and Eric Rohmer. Hiroshima, Notre Amour. Cahiers du Cinema: The 1950’s, Neo-Realism, Hollywood, New Wave. Ed. Jim Hillier. Cambridge, Massachusetts: Harvard University Press, 1985. pp 59-70. Nichols, Bill. Representing Reality. Bloomington, IN: Indiana University Press, 1991. Nichols, Bill. Blurred Boundaries. Bloomington, IN: Indiana University Press, 1994. pp 117-121. Renov, Michael. Theorizing Documentary. New York, NY: Routledge Publishing, 1993. Small, Edward S. Direct Theory: Experimental Film/Video as a Major Genre. Illinois: Southern Illinois University Press, 1994.
Beginning the mid 1920s, Hollywood’s ostensibly all-powerful film studios controlled the American film industry, creating a period of film history now recognized as “Classical Hollywood”. Distinguished by a practical, workmanlike, “invisible” method of filmmaking- whose purpose was to demand as little attention to the camera as possible, Classical Hollywood cinema supported undeviating storylines (with the occasional flashback being an exception), an observance of a the three act structure, frontality, and visibly identified goals for the “hero” to work toward and well-defined conflict/story resolution, most commonly illustrated with the employment of the “happy ending”. Studios understood precisely what an audience desired, and accommodated their wants and needs, resulting in films that were generally all the same, starring similar (sometimes the same) actors, crafted in a similar manner. It became the principal style throughout the western world against which all other styles were judged. While there have been some deviations and experiments with the format in the past 50 plus ye...
Before the civil rights movement could begin, a few courageous individuals had to guide the way. Dr. Vernon Johns was one of those individuals. Dr. Vernon Johns was a pastor and civil rights activist in the 1920s. Johns became the pastor of Dexter Avenue Baptist Church in Montgomery, Alabama in the late 1940s. During his time as a pastor, Johns preached many sermons on how African American people were being treated not only in the community but in society. Johns on multiple occasions upset his community through his ideas on social change. Through a sociologist perspective, many sociological concepts were displayed in The Vernon Johns Story. Some of those concepts included: ascribed status, conflict theory, deviant behavior, alienation, and
Twentieth-Century Literary Criticism, edited by Linda Pavlovski and Scott T. Darga, vol. 106, Gale, 2001. 20th Century Literature Criticism Online, http://link.galegroup.com/apps/doc/KSZNPN102098467/LCO?u=schaumburg_hs&sid=LCO. Accessed 14 Dec. 2017. Originally published in CLA Journal, vol. 31, June 1988, pp.
Film and literature are two media forms that are so closely related, that we often forget there is a distinction between them. We often just view the movie as an extension of the book because most movies are based on novels or short stories. Because we are accustomed to this sequence of production, first the novel, then the motion picture, we often find ourselves making value judgments about a movie, based upon our feelings on the novel. It is this overlapping of the creative processes that prevents us from seeing movies as distinct and separate art forms from the novels they are based on.
movies, that is they are set in the future or have a vision of the
Neill, Alex. “Empathy and (Film) Fiction.” Philosophy of film and motion pictures : an anthology. Ed. Noel Carrol and Jinhee Choi. Malden, MA: Blackwell Publishing, 2006. 247-259. Print.
Filmmakers engage the past as a historian but not specifically in a way actual historians are doing. Historians use archived facts ranging from documents, photos, or objects from a specific time era to understand history. Contrastingly filmmakers as a historian can only bring to life a certain part of history without altering the past by focusing specifically on an aspect of the subject at hand. Scholars Marita Sturken and Barbie Zelizer argue how well-known filmmakers use film techniques or credibility in order to portray what happened in the past. Filmmakers as a historian is limited to only details they can use based on documents and archived history to re-tell a history through mise-en-scene to become a faux “historian”. Sturken and Zelizer would argue that filmmakers are not real historians; specifically how film can be made to manipulate the past towards the vision to get a narrative through that appeals to the film viewer and director. Filmmakers are not real historians since they can be biased to specific details of what occurred in the past.
Films are necessary in our time period because the human eye can articulate the message intended through sight allowing visual imagination to occur. In the book, world 2 by Max Brooks, he creates a character by the name Roy Elliot who was a former movie director. Roy Elliot manages to make a movie titled “Victory at Avalon: The Battle of the Five Colleges” and some how it goes viral. Similarly, Frank Capra’s film, “Why we Fight” expresses a sense of understanding the meaning of wars. Films do not inevitably portray truth because they display what the film director views as important and beneficial for people to know.
...ctual roles, or adding in exciting events that revise the storyline. These changes are beneficial to producers because they engage a large audience and generate massive profits. In contrast, they do not always have a positive effect on viewers. Although they are entertaining which is an important aspect of theatre culture, they also are often misguiding. Many spectators take movies at face value, without considering that they may not exactly qualify as primary source material. Even when an historical event is fabricated to teach or enhance a moral message, it still doesn’t compensate for bending the truth. Moviegoer’s may have a positive experience and gain some skewed historical perspective, perhaps better than what they knew before the movie, but they loose out on the truth and therefore, a genuine understanding of the historical event, and its significance.
Forum 19.4 (Winter 1985): 160-162. Rpt. inTwentieth-Century Literary Criticism. Ed. Thomas J. Schoenberg and Lawrence J. Trudeau. Vol. 192. Detroit: Gale, 2008. Literature Resource Center. Web. 30 Nov. 2013.
The film’s story does not simply shines forth, but is also the foundation of the plot. The film’s plot makes the traditional guidelines applicable...
Literature plays an important role as a part of the cultural heritage. Thus, literature is the soul of our civilization, the center of our religion, and the machine we can travel back in the time of our old civilizations. In addition, literary works are able to take the readers beyond the limited experiences of readers’ lives. They show the lives of others. The literary works covey the social, political, and cultural backgrounds of the time when the stories or novels were written. The author of the book, “The Death of the Author,” Roland Barthes expresses that authors are always the agents of their times. According to the statement conducted by Roland, to get the fully understanding of the text, he recommends
Classic narrative cinema is what Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985) 1, calls “an excessively obvious cinema”1 in which cinematic style serves to explain and not to obscure the narrative. In this way it is made up of motivated events that lead the spectator to its inevitable conclusion. It causes the spectator to have an emotional investment in this conclusion coming to pass which in turn makes the predictable the most desirable outcome. The films are structured to create an atmosphere of verisimilitude, which is to give a perception of reality. On closer inspection it they are often far from realistic in a social sense but possibly portray a realism desired by the patriarchal and family value orientated society of the time. I feel that it is often the black and white representation of good and evil that creates such an atmosphere of predic...
The development of semiotics in the 20th century revealed much about ideology in mass culture. Structuralist Roland Barthes' texts on the matter are very much products of their times, yet many still have a troubling modern-day relevance. Barthes' Mythologies demonstrates the possibilty to find meaning through the 'trivia' of everyday life. He claims to want to challenge the 'innoncence' and 'naturalness' of cultural texts and practices, as they are capable of producing a multitude of supplementary meanings, or 'connotations'.
The Web. The Web. 9 Dec. 2010. http://go.galegroup.com/ps/aboutEbook.do?pubDate=119880000&actionString=DO_DISPLAY_ABOUT_PAGE&inPS=true&prodId=LitRG&userGroupName=west89013tgps&searchType=AdvancedSearchForm&docId=GALE%7C0KTB>. - - -. “Literature Criticism from 1400 to 1800.”