Watching documentaries is a great way to learn new things. These are films that shape and interpret facts for education and entertainment of their viewers. It has several social functions, which are to record, preserve, and reveal, and persuade. This form of motion films also aims to entertain and educate.
Not everyone understands the difference between a movie review and a movie analysis when watching movies and writing essays about the material. Sometimes these two terms are used interchangeably. Nevertheless, when it comes to grading and evaluating the paper, this difference is essential.
documentary film essay
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Perhaps a close cousin to documentary, the film is at its core a personal mode of filmmaking. Structured in a breadth of forms, a partial definition could be said to be part fact, part fiction with an intense intimacy (but none of these are necessarily paramount).
Stemming from the literary as a form of personal expression borne from in-depth explorations of its chosen topic, the film can be agitprop, exploratory, or diaristic and generally rejects narrative progression and concretised conclusions in favour of a thematic ambivalence. Due to its nature as inherently personal, the term itself is as vague and expansive as the broad collective of films it purports to represent.
Increasingly Welles rejects infallibility in favour of a profound ambivalence that is read across the careers of various forgers to eventually become, as is naturally the case for such a sublime example of the film, a personal contemplation of his own career and his self-definition as a perpetual sceptic.
10 years after the Marker conceived Loin du Vietnam, a protest film against the Vietnam war structured in segments from a wealth of French Filmmakers including Godard, Resnais, Lelouch, Varda and Klein, the film is markedly more melancholic, plagued by a scepticism highlighted in the French title (directly translated as the essence of the air is red) that implies the socialist sentiment only ever existed in the air.
Borne from the influence of the structuralist filmmakers Akerman encountered in New York (see Michael Snow, Stan Brakhage and Hollis Frampton), News from Home is a portrait of a city as seen through the eyes of a foreigner, as she attempts to come to terms with her new surroundings and the contrast to the life she left in Brussels (constantly referenced in the letters from her mother that are used to narrate the film).
Akerman films New York with the intricate eye of someone completely out of their depth, attempting to survive in a city they hardly know, emphasised by the concern of the letters from her mother. News from Home is a contemplation of the inescapability of the past and how it informs the present viewed from a perspective of awe, confusion and intense deliberation.
A documentary film or documentary is a non-fictional motion-picture intended to "document reality, primarily for the purposes of instruction, education or maintaining a historical record".[1] Bill Nichols has characterized the documentary in terms of "a filmmaking practice, a cinematic tradition, and mode of audience reception [that remains] a practice without clear boundaries".[2]
Early documentary films, originally called "actuality films", lasted one minute or less. Over time, documentaries have evolved to become longer in length, and to include more categories. Some examples are educational, observational and docufiction. Documentaries are very informative, and are often used within schools as a resource to teach various principles. Documentary filmmakers have a responsibility to be truthful to their vision of the world without intentionally misrepresenting a topic.
Polish writer and filmmaker Bolesław Matuszewski was among those who identified the mode of documentary film. He wrote two of the earliest texts on cinema Une nouvelle source de l'histoire (eng. A New Source of History) and La photographie animée (eng. Animated photography). Both were published in 1898 in French and among the early written works to consider the historical and documentary value of the film.[3] Matuszewski is also among the first filmmakers to propose the creation of a Film Archive to collect and keep safe visual materials.[4]
The word "documentary" was coined by Scottish documentary filmmaker John Grierson in his review of Robert Flaherty's film Moana (1926), published in the New York Sun on 8 February 1926, written by "The Moviegoer" (a pen name for Grierson).[5]
Grierson's principles of documentary were that cinema's potential for observing life could be exploited in a new art form; that the "original" actor and "original" scene are better guides than their fiction counterparts to interpreting the modern world; and that materials "thus taken from the raw" can be more real than the acted article. In this regard, Grierson's definition of documentary as "creative treatment of actuality"[6] has gained some acceptance, with this position at variance with Soviet film-maker Dziga Vertov's provocation to present "life as it is" (that is, life filmed surreptitiously) and "life caught unawares" (life provoked or surprised by the camera).
The American film critic Pare Lorentz defines a documentary film as "a factual film which is dramatic."[7] Others further state that a documentary stands out from the other types of non-fiction films for providing an opinion, and a specific message, along with the facts it presents.[8] Scholar Betsy McLane asserted that documentaries are for filmmakers to convey their views about historical events, people, and places which they find significant.[9] Therefore, the advantage of documentaries lies in introducing new perspectives which may not be prevalent in traditional medias such as written publications and school curriculum.[10]
Documentary practice is the complex process of creating documentary projects. It refers to what people do with media devices, content, form, and production strategies to address the creative, ethical, and conceptual problems and choices that arise as they make documentaries.
Early film (pre-1900) was dominated by the novelty of showing an event. They were single-shot moments captured on film: a train entering a station, a boat docking, or factory workers leaving work. These short films were called "actuality" films; the term "documentary" was not coined until 1926. Many of the first films, such as those made by Auguste and Louis Lumière, were a minute or less in length, due to technological limitations (example on YouTube).
Films showing many people (for example, leaving a factory) were often made for commercial reasons: the people being filmed were eager to see, for payment, the film showing them. One notable film clocked in at over an hour and a half, The Corbett-Fitzsimmons Fight. Using pioneering film-looping technology, Enoch J. Rector presented the entirety of a famous 1897 prize-fight on cinema screens across the United States.
In May 1896, Bolesław Matuszewski recorded on film a few surgical operations in Warsaw and Saint Petersburg hospitals. In 1898, French surgeon Eugène-Louis Doyen invited Bolesław Matuszewski and Clément Maurice and proposed them to recorded his surgical operations. They started in Paris a series of surgical films sometime before July 1898.[11] Until 1906, the year of his last film, Doyen recorded more than 60 operations. Doyen said that his first films taught him how to correct professional errors he had been unaware of. For scientific purposes, after 1906, Doyen combined 15 of his films into three compilations, two of which survive, the six-film series Extirpation des tumeurs encapsulées (1906), and the four-film Les Opérations sur la cavité crânienne (1911). These and five other of Doyen's films survive.[12]
Between July 1898 and 1901, the Romanian professor Gheorghe Marinescu made several science films in his neurology clinic in Bucharest:[13] Walking Troubles of Organic Hemiplegy (1898), The Walking Troubles of Organic Paraplegies (1899), A Case of Hysteric Hemiplegy Healed Through Hypnosis (1899), The Walking Troubles of Progressive Locomotion Ataxy (1900), and Illnesses of the Muscles (1901). All these short films have been preserved. The professor called his works "studies with the help of the cinematograph," and published the results, along with several consecutive frames, in issues of La Semaine Médicale magazine from Paris, between 1899 and 1902.[14] In 1924, Auguste Lumiere recognized the merits of Marinescu's science films: "I've seen your scientific reports about the usage of the cinematograph in studies of nervous illnesses, when I was still receiving La Semaine Médicale, but back then I had other concerns, which left me no spare time to begin biological studies. I must say I forgot those works and I am thankful to you that you reminded them to me. Unfortunately, not many scientists have followed your way."[15][16][17]
Travelogue films were very popular in the early part of the 20th century. They were often referred to by distributors as "scenics." Scenics were among the most popular sort of films at the time.[18] An important early film to move beyond the concept of the scenic was In the Land of the Head Hunters (1914), which embraced primitivism and exoticism in a staged story presented as truthful re-enactments of the life of Native Americans. 2ff7e9595c
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