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Truth and Fiction in Documentary Film
Documentary film style has been used in films dating back to the pre 1900's. It was later a term that was used by John Grierson in his review of Robert Flaherty's film Moana in 1926. Documentary films are often regarded as films that display reality and tell stories about real facts and interview real people. Although this does not mean that fiction does not exist in documentary films. Films such as Nanook of the North can tell a story that is perceived to be reality when in fact the events are staged or not true. This can be done through the editing process, script writing as well as through camera work. Truth is a fuzzy concept and our understanding of reality is so subjective and the line between truth and fiction often becomes blurred.
“Documentary film, in the words of Bill Nichols, is one of the “discourses of sobriety” that include science, economics, politics, and history-discourses that claim to describe the “real,” to tell the truth” (Jill, and Ann-Louise, 80). Although this gives a very limited of what non-fiction is and what it can be within film. Many documentary filmmakers attempt to change of improve a part of society in some way with their documentaries. In others it is the goal to entertain the audience in some way and others attempt to uncover a hidden truth or mystery. Films such as Grey Garden directed by Albert and David Maysles in 1975 was a film about the everyday lives of a mother and daughter who were reclusive socialites. The directors used a direct cinema approach which allowed the mother and daughter to tell their own stories. There was no use of interviews or voiceovers so we see their lives through their eyes and through their stories. Grey Gardens is an exampl...
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...Cannes Film Festival but wasn’t entered into the competition, although in 2010 it was selected by the library of congress for preservation in the US National Film Registry. It was entered into the registry for being culturally, historically, or aesthetically significant.
Documentary films strive to tell a story about something that is real with real people and real facts. Sometimes this is true and done very well in films like Grey Gardens but with other films our perception of reality can become fuzzy. Searching for Sugar Man and Nanook of the North are two examples of this, they are telling a true story but films such as these tend to mold the truth. This is when the line between truth and fiction becomes blurred. So at times it becomes very it often becomes very hard to figure out if a film fiction or non-fiction but it is clear there is a mixture of both.
Bridge to Freedom provides the historical documentary behind the events that served as the narrative for Selma. Instead of a drama, the viewers receive an actual documentary that shows the confrontations between the marchers and the government. Like Selma, it highlights the violence, the deaths, and the beatings, but also goes further back in time to show society’s treatment of African Americans.
As documentary by its very nature introduces itself as factual, concerns exist as to where the boundary between the truth of subject and the fiction produced by its creator emerges. As anything that has been edited has by definition removed certain aspects and enhanced others, there must be at best an innocent naturally occurring bias formed from individual perception, and at worst purposefully manipulated misinformation. Through researching various sources, I intend to discover the difference (if any) between these two methods making factually based programmes, to determine any variables that lie in the ‘grey area’ between the two extremes, and to ascertain the diverse forms of conduct in which truth (and in turn documentary) can be presented to an audience, and to what effect?
Most people are likely to relate Hollywood with money. If a person lives in the Hollywood area, people assume she or he is probably rich. If she or he is a Hollywood movie star, the person probably makes a lot of money. Therefore, to follow that line of thought, when Hollywood producers make a movie, they make it just for money. And some filmmakers do seem to make films only for the money the movies will earn. The action movie "Die Hard", the fantasy movie "Star Wars", and the adventure movie "Jurassic Park" are examples of exciting movies that were made just for the money by satisfying the audiences' appetite for escapism.
The documentary is structured in a way that presents the factual information first, and uses
You are starving and your family is starving, but the law told you that you could not feed your family, would you obey the law or do you decide to feed your family anyway despite what the law says? To Tommy Pikok Sr., “When I am hungry, I can protest the law. I can use my stomach as a reason to protest the law” (Edwardsen, Duck-In). In the documentary, The Duck-In, the Iñupiat people of Barrow, Alaska fought against the law by coming together as a whole community to get what should be their right as native people. The Iñupiat people would rather hunt for their food than consume white people food on a daily basis. It is our culture, tradition, and duty to hunt for food and no one or anything could change our way of thinking. The citizens of Barrow, Alaska should watch the Duck-In because the documentary informs the citizens
Films are also treasures of culture, filled with clues and insights into the attitudes and perceptions of the people of the day. While documentary films obviously present a historical record of people and events, dramatic fictional movies can also reveal the same. Comparing the main characters in Hitchcock's 1934
I watched the documentary called, “The Power of an Illusion: The House We Live In”. The documentary talked about how the laws and policies in America create a racial divide; in addition, the documentary talks about how our federal housing policy has oppressed people of color throughout our culture. This was an interesting documentary that certainly talks about how our policies and laws in America have always been to benefit the whites and to exclude people who are non-whites.
Within every history class, English class, and even some science classes, the art of storytelling is a primary foundation for human communication and understanding. Whether it be through myths – Greek, Roman, Egyptian, you pick – or wives tales or even Grandpa telling his old war stories, stories have power. Now, through technological advancements in the last 150+ years (thank you Thomas Edison for your obsession), we have film as a mode to tell stories. Fictional or not, films tell a story; they have the power to give you not only entertainment but enlightenment too. Through continuing advancements, filmmakers have the ability to challenge and manipulate the power of the story through creative resistance; by exploring other elements of storytelling via film, filmmakers can create dramatically different films from similar ideas by using a multitude of techniques. Films are even used to create social commentary.
In conclusion, we can see in film narrative The Birth of a Nation has progressed from the trick film narrative of Mary Jane’s Mishap to being identified according to Gunning as being of the third genre, due to both profitability and popularity of realistic cinema Moving from being of theatrical proscenium to complex cinematography to tell a story suited for the screen.
The Art of Rhetoric can be very effective when used in a documentary. For example, in “Waiting for Superman,” the director uses Ethos, Pathos, and Logos to tell and persuade the viewer that the public school system is broken, which he does very effectively.
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.
According to historians like Neil Burch, the primitive period of the film industry, at the turn of the 20th century was making films that appealed to their audiences due to the simple story. A non-fiction narrative, single shots a burgeoning sense
One of the integral things that must be addressed when making a film is the ethics involved. Ethics are a constant issue that have to be carefully considered when filmmaking. This difficult decision-making is highly prevalent in that of documentaries, because of the difficulties associated in filming ‘real people’ or “social actors, (Nichols, 2001).” More importantly, the issues faced by a filmmaker differ between each of the documentary modes. Each particular documentary mode poses different formal choices that must be made in order to operate in an ethical fashion. Two films that have been made both display examples of how ethics must be considered when embarking on a documentary are Etre at Avoir [To Be and to Have], (2001) and Capturing the Friedmans (2003). These films have been made in different documentary modes, highlighting that there is not one mode which is easier or has fewer ethical issues associated with it. Additionally, what must be considered is how these style choices in these different modes affect the power relationships between the filmmaker, the subject and its audience, (Nichols, 2001).
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...
This is a critique of" Roger And Me", a documentary by Michael Moore. This is a film about a city that at one time had a great economy. The working class people lived the American dream. The majority of people in this town worked at the large GM factory. The factory is what gave these people security in their middle working class home life. Life in the city of Flint was good until Roger Smith the CEO of GM decided to close the factory. This destroyed the city. Violent crime became the highest in the nation, businesses went bankrupt, people were evicted from their rented homes. There were no jobs and no opportunity. Life was so bad that Money magazine named Flint the worst place to live in the entire nation. When news of the factory closing first broke, Michael Moore a native of flint decided to search for Roger Smith and bring him to Flint.