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Objectivity in documentary
How to analyze a documentary film
Documentary analysis
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1. Thesis
Different types of documentaries as a reflection of the different methods a presenter can use to communicate the intended message of a documentary. Under this classification, different documentary types have been related to either being subjective or objective. Documentaries classified as expository, interactive or reflexive have always been considered to be subjective in nature, while observational documentaries have always been described as objective. While these distinctions that help differentiate each documentary have merit, the outright classification can provide an inaccurate idea that documentaries classified as being objective provide a more realistic presentation of the subject matter compared to documentaries classified
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As previously mentioned, a defining attribute of a documentary in the minds of audiences is that it is based on real events that happened to other people like them. However, there is a tendency for filmmakers to become selective and choose only what parts of the documentary make it to the final editing process that fit with their own ideas or beliefs, making these documentaries closer to film and movies (Mueller, 2015). The documentary Exit through the Gift Shop is an example on how the veracity of the portrayed events in a documentary can affect the perception of its audience. On its release, the documentary received criticism of being fabricated or fake as there are some question surrounding how Guetta, one of the main characters, suddenly became an artist overnight (Ellsworth-Jones, 2013). The idea that events in documentary are manufactured immediately make sit more subjective as it is possible that the film that made the editing are only those that creator chose to as a reflection of his/her personal beliefs (Bernard, 2011). Even if the overall theme has a positive message, a documentary loses objectivity if only select events are filmed and
In this documentary, the conventions and techniques included are; real footage, recorded audio, written codes, montages, use of authority figures/experts, facts and statistics, interviews, bystanders, animation, background music etc. The four conventions/techniques that I will be discussing in this essay will be real footage, use of authority figures/experts, sound and bystanders.
Roger and Me, on a basic level falls into the Interactive category with its involved interviews and archival footage. On page thirty-three, Nichols comments on the use of archival footage in the Interactive Mode of Documentary. Writing that old news clips are often appended onto expert and witness interviews as to avoid reenactments and voice of god commentaries.
This report aims to make light of certain elements of documentary making that are perhaps more susceptible to influence on the director’s part, and once again explore the effect of these decisions on the audience’s reaction to the information presented.
I realized that sometimes it is fine for things to just be, and I don’t know why. Much of the film has to do with how we think, and what we do in private. Collectively, through these moral and ethical acts (or lack thereof) we can impact the public. Also, by sharing these thoughts and concepts with the public in the documentary, it can affect our thoughts and actions in our private lives; I know it has, at least for myself. One of the earliest topics in the film that I took note of was the ethics of certain matters, in a way that I had never considered before.
The documentary is structured in a way that presents the factual information first, and uses
Documentary has been heavily associated as a representation of the truth and reality due to its absence of fictional elements and control by the filmmaker (Chapman, 2009). It aims to entice the audience perception of the information presented as fundamental and legitimate (Beattie, 2004). With today's technology, the question of manipulated facts and proclaimed evidences presented in documentaries has heightened concerns in providing the audience with the truth and the real. Hence, with reference to the documentary on "Biggie and Tupac" (2002) directed by Nick Broomfield, we will explore how the documentary has managed to capture the real in terms of structure, style and modes of documentary.
When the movie in question is a documentary, as in the case of newcomer Andrew Jarecki’s Capturing the Friedmans, the result is indeed more noteworthy. In fact, in a summer in which the Hulk, Terminator, and Neo were supposed to get the top billing, the most interesting on-screen character demonstrated to be the ‘Other Arnold,’ a little rural Jewish middle-aged teacher and sentenced pedophile. As significant subject of Jarecki’s gut-wrenching, breakout hit – grossing more than $2 million to date in restricted discharge (anything over a million is considered great for a doc)—Arnold Friedman and his family generated more public heat around nonfiction film than anything since, well, final year’s Bowling for Columbine. On the surface, Jarecki’s insinuate case ponder of dysfunctional family has little in common with Michael Moore’s lofty, politically uncertain ego-fest. However, the way in which both movies ‘captured’ the open creative ability, and what their to some degree distinctive takes on documentary talk cruel for the future of the sort, raise issues of full-blooded criticalness.
There are three major types of movies: narrative (a fiction story being told), documentary (nonfiction recording of reality, educating of the audience, or political and social analyses) and experimental
As a viewer, the documentary’s intention to inform is more completely fulfilled by research conducted beyond the scope of the camera lens. Had I never written this paper, for instance, the reason for all the violence embedded within the subject matter would remain as enigmatic as the documentary itself.
2 nd. Carol Stream: Tyndale House Publishers, Inc., 2004. Print. The. Lyons, William L. “Teaching the Documentary Hypothesis to Skeptical Students.”
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).
According to the MEAA, “the media’s role in society is to keep citizens informed so they can use their democratic rights effectively”. They are required to follow certain codes of practice to ensure the information does not become tainted. On the contrary, all of Australia’s major print media outlets are under the influence of either Rupert Murdoch or John Fairfax. This means that we are never receiving unbiased knowledge free from racism. Furthermore, the same bias can be found in even places associated with the opposite idea; Documentaries. In almost everyone this word invokes the idea of a factual film which can be trusted to provide an impartial insight into any given topic. However, the film “The Tall Man” disproves this concept. We can see how racial stereotyping has been used to persuade the audience into feeling that the Indigenous Australians have been directly marginalised by Chris Hurley. By skilfully using film making techniques such as; music, symbolism, sequencing and selective footage, he is able to position the audience to agree with the Indigenous Australians. The media also uses similar techniques such as evocative language, images, names and titles and space dedicated, in an attempt to sway public opinion.
Traditional ideations of film and documentaries have been to create scripts that are structures to fulfill a set idea. The challenge with scripting an idea is that the script writer(s) have a subjective view of the documentary. The vastness of documenting a situation is restricted by the script making it impossible for a documentary film to capture objective realism in their work.
The definition of documentary varies between the personal opinions of filmmakers and critics. The term was first devised in 1926 by “The Moviegoer” a.k.a. John Grierson, a Scottish filmmaker and film critic when describing the film Moana as having “documentary value”. Grierson defined the term documentary as “creative treatment of reality”. His approach to documentary film was that the “original” actor and scene are superior to those that are fictitious.