Abstract This paper use the documentaryfilm, "Capturing the Friedmans", to define and examine the documentaryfilm genre. The paper analyzes "Capturing the Friedmans", and discusses what the family's home movies reveal about contemporary American family life and the dynamics of the family relationships.
From the Paper "According to Bill Nichols, every film is essentially a documentary, but true documentaries, as opposed to wish-fulfillment fictions, represent a unique genre of film that engages with the world as it exists in reality. Nichols says that the documentary engages with the world by representing it in one of three ways. First, documentaries offer a likeness or depiction of the world that bears a recognizable familiarity. Secondly, these films stand for or represent the interests of others. Third, some documentaries may represent the world..."
Abstract This paper focuses on the development of documentaryfilms. The paper first looks at the role of John Grierson in the development of the documentaryfilm in the 1930s and examines his documentary called "The Drifters". The paper then looks at how Germans utilized the documentaryfilm during World War II, specifically those films made by Leni Riefenstahl. Finally, the paper discusses the development of neorealism during and after World War II and how it borrowed a good deal from the documentaryfilm.
Outline:
John Grierson and the DocumentaryFilm Movement
The DocumentaryFilm in Germany
The Development of Neorealism
From the Paper "John Grierson was a key figure in the development of the documentary film in the 1930s and beyond, helping to create and operate a number of documentary film units in Britain and Canada and himself directing a key documentary in 1930 called The Drifters. Grierson also wrote a good deal about the documentary, and while he never wrote a comprehensive aesthetic of the documentary, one can be gleaned from the many writings he did do."
Abstract In this paper, the author examines and discusses the development of modern day documentaryfilm makers, especially since the US led invasion of Iraq. According to the author, the ability today to bring to almost every home, events occurring many thousands of miles away, almost instantaneously has changed the way journalists report news and specifically how they approach the making of a documentaryfilm. One of the contentions made by the author is that documentaryfilm politics is usually one of the most purely unbiased, democratic politics available to the public because the nature of the documentary is one that lends itself to the voice of the subject of the documentary. The writer goes on to examine various documentaryfilm makers and discusses their work, finally concluding that today, given the environment of politics and corporate ratings and individual ambitions, documentaryfilm may be the most pure form of unedited and unbiased information available to the public.
From the Paper "One such documentary filmmaker was Deborah Scranton (2006), who went 180 degree turn left of the traditional media, and chose what she refers to as "virtual" embedding with the troops (WBH Forum 2006). Speaking before the WBH Forum about the "process" of making the documentary, Scranton explained that the New Hampshire National Guard offered here the opportunity to document their Guard in Iraq. Scranton decided that the film needed to be from the perspective of the soldier, and instead of traveling to Iraq, she would equip the troops with cameras, and the reporting and the film would be 100% the story of the soldiers based on their experiences. Scranton discussed at length the soldier's concerns when she met with them and explained her idea. Their concerns were that their stories would become lost in her personal agenda. This suggests that the soldiers had their own experiences with, and impressions of previous embedded reporting."
This paper defines styles of documentaryfilms as exemplified by Robert Flaherty's "Nanook of the North", Albert and David Maysles' "Grey Gardens", Errol Morris' "The Thin Blue Line" and Kidlat Tahimik's "Perfumed Nightmare" ("Mababangong Bangungot").
855 words (approx. 3.4 pages), 0 sources, 2005, $ 30.95
Abstract This paper explains that Robert Flaherty's "Nanook of the North" and Albert and David Maysles' "Grey Gardens" are examples of the evidential style of documentaryfilm, a sort of cinema verite, or truth-cinema, which attempts to portray reality through the lens of the camera, objectively and truthfully, with no commentary or underlying message. The author points out that Errol Morris in his documentary "The Thin Blue Line" uses a rhetorical style, in which the filmmaker has no intention of remaining objective to the subject matter and often features the filmmaker as a primary character or narrator, and, in contrast to evidential documentaries, often employs the use of dramatization, staged scenes and direct interviews for the purpose of convincing the audience of the truth of the film's message. The paper relates that rhetorical and evidential documentary techniques are not completely mutually exclusive as presented in Kidlat Tahimik's "Perfumed Nightmare" ("Mababangong Bangungot"), which blends dramatization and filmmaker interaction with objective, removed footage of unstaged events in real life.
From the Paper "The Maysles brothers did not feel the need to stage scenes or use interviews to glean the information they were looking for, because that information was simply a glimpse into the real lives of the two women. This was achieved nicely in the film, which used a "hands-off" technique to capture the way life really was for the Beales. "Grey Gardens" does such a successful job of portraying reality that at times in the film when one or the other of the subjects is looking or speaking directly at the camera, the audience gets the impression that she is addressing a wall."
Abstract This paper explains that the documentaryfilm "The Corporation" demonstrates the way the ideologies of corporations impact society and the public good. The author points out that, in this film, the corporation is analyzed and treated as if it were a person with a personality of a textbook psychopath. The paper relates that corporations manipulate the mass media and the consumers by ignoring social accountability, moral rules and sometimes even direct laws.
From the Paper "The corporation is probably the most dominant institution in our society today. It is the most wealthy, powerful, pervasive, and influential institution on earth today. The principal goal of a corporation is to make as much legal monetary profit as possible, regardless of the consequences. It is also an institution legally not concerned with the well being of the society at large. This essay will argue that the limited liability of corporations makes them all-powerful and that it is this status quo that the corporations want to maintain, using propaganda and consumerism in order to do so."
Abstract This paper explains that that Leni Riefenstahl's film of the 1936 Olympic documentary is propaganda, focusing more on German and German-sympathetic athletes and the ambiance of the Berlin stadium, seen in its new Nazi grandeur; whereas, in the most stunning photography, Ton Ichikawa's film of the 1964 Tokyo Olympiad is a salute of the exertion of the athletes regardless of race, nationality or ethnic background. The author points out that "Tokyo Olympiad 1964" is not a "sports documentary" in the traditional sense of showing races, winners and celebrating crowds but rather a technically and emotionally gripping documentary about the effort of preparation and the Olympic spirit. The paper concludes that, in a sense, this film is just as much a propaganda piece about Japan's new maturity as was Olympia 1936 but in a way that the glorification politics do not interfere with the presentation of the athletics.
From the Paper "There is no real story line easy to follow, even though this nearly three-hour film opens with buildings being demolished to make way for the Olympic stadiums and arenas, and training areas as well as housing. As we see this, there is a voice-over which gives the other previous Olympic locations and dates. One of the next scenes is the obligatory Olympic documentary one of the torch reaching Japan, and the following thew various runners in the countryside, running to bring the torch to Tokyo and its new Olympic stadium. For Americans, the win of the Native American, Billy Mills, in the 10,000 meter race is a highlight. But, interestingly enough, the camera stays at the finish line until every racer has finished. There is also a somewhat poignant story line about the single athlete from Chad, who shares no common language with any other athlete, and trains alone. When he loses in the semi-final heat, Ahmed Isa is ignored by the crowd, but not Ichikawa. Here is loneliness amid the shouts of tens of thousands."
This paper describes and analyzes Ray Muller's documentaryfilm "The Wonderful, Horrible Life of Leni Riefenstahl", who is best known as a documentary filmmaker during the time of Hitler.
Abstract The paper explains that title of the documentary "The Wonderful, Horrible Life of Leni Riefenstahl" captures the controversy, which Leni Riefenstahl arouses and summarizes the nature of her film work. The author points out that Riefenstahl is popularly acknowledge for having made two of the best documentaryfilms ever produced but they have been denounced for their inherently horrible ideology of Nazism and central figure Hitler. The paper relates that, while this documentary is objective by presenting her admirable qualities, the film also exposes an infinitely less attractive dimension to Riefenstahl's personality, her self-defensive, over-brimming with self-justification and unwaveringly unapologetic stance about the services she rendered to Hitler and the Nazi party. The author discusses the use of voiceovers, flashbacks and contrasts in the production of the film.
From the Paper ""The Wonderful, Horrible Life of Leni Riefenstahl" compels mixed reactions to its protagonist, evoking both admiration and aversion towards Riefenstahl. In one of the scenes, she is depicted as walking on a pier, carrying her own, undoubtedly heavy, scuba diving gear. Her much younger companions are walking ahead of her and neither offers to help her with her equipment and, indeed, her demeanor suggests that she would have rejected any offers of help. This scene would not have been remarkable were it not for the fact that Riefenstahl was over 90 at the time."
Tags: controversy, german cinema, voiceover flashback unapologetic
Abstract This paper analyzes Robert Flaherty's contributions to cinema, particularly with regards to documentaries. It focuses on Flaherty's 1922 documentaryfilm, "Nanook of the North" and how it has become inextricably associated with the development of modern documentaryfilm. The paper analyzes Flaherty's masterful cinematic touch, from shot order to the pacing and treatment of his subjects and explains why he is widely considered one of the most influential filmmakers in the documentary genre.
From the Paper "As Nanook declared to Flaherty before the filming of the walrus hunt, "the aggie [film] will come first." Though some modern critics have loudly proclaimed Nanook a fake by contemporary documentary standards, it is important to note that Flaherty can hardly be held accountable to the later standards of a film movement which did not, until he helped create it, exist. Though he drew heavily from historical precedent in nonfiction film and documentary-style presentations, Flaherty stands out because he was perhaps the first to fully integrate traditional ethnographic nonfiction into a satisfying and utterly engaging narrative form. Additionally, making Nanook the protagonist of his film, and portraying him in a respectful light set a precedent for future documentaries. By the time Nanook of the North had circled the globe, it had influenced and inspired filmmakers worldwide and triggered a nonfiction movement that has continued to this day. Flaherty's film contributes to the understanding of film as a whole by posing the most fundamental questions about nonfiction film, asking, what is reality? What is not? Where is the line between the two? Most importantly, Flaherty's Nanook of the North helped establish the often-unacknowledged fact that documentary film is not a newsreel but, first and foremost, art."
This paper looks at the six different modes of documentary filmmaking, with a focus on the documentaries "Out of Control: AIDS in Black America" and "Other Faces of AIDs".
Abstract The paper discusses the documentaryfilm's six primary modes of filmmaking and illustrates some of these modes with reference to different documentaries. The paper then applies the data to two specific documentaries; "Out of Control: AIDS in Black America" and "Other Faces of AIDs," which address the growing AIDs crisis in the African-American community. The paper shows how in both films the expository mode takes over, creating a sense that the white reporters and filmmakers are lecturing, which undercuts the effectiveness of the message and separates the black community.
Outline:
Introduction
Six Primary Modes of Documentary Filmmaking
Conclusion
From the Paper "The classification of documentary films into six modes was proposed and explained by Bill Nichols. As Nichols describes these six modes, he suggests that each of the six corresponded to a particular period in documentary filmmaking when that mode prevailed, though all persist and may be found in some films at any given time. The observational mode is considered by some to be the truest form, given that it involves the least direct interference or interpretation by the filmmaker. As Nichols writes, these are films that "eschew commentary and reenactment [and] observe things as they happen" (Nichols, Representing Reality: Issues and Concepts in Documentary 138). This is considered by many to be the most "documentary-like" of all the documentary forms, and perhaps the best-known practitioner of this form is Frederick Wiseman."
Abstract The paper discusses the value of Bill Nichols' system of documentary modes and outlines the "Poetic Mode", "The Observational Mode", and "The Participatory Mode". The paper shows how not all of his modes fit exactly into a neat category. The paper also explains why viewers place faith in documentaries, more so than other formats and then shows why a good, ethical documentary can engender tangible change.
Outline:
The Value of Nichols' System of Documentary Modes
Why Viewers Place Faith in Documentaries - More So than Other Formats
The Assumption is that a Good, Ethical Documentary can "Engender Tangible Change."
From the Paper "The value first of all is in the fact that Nichols' system puts a microscope on the topic of documentaries. Nichols slows down the process of how critics and reviewers tell the movie-going public about certain films that are non-fiction films. Nichols attempts to break the discussion down into sections (components) that people can understand.
"For example, the Nichols' "Poetic Mode" offers clarification that this form of documentary is probably what people would call "arty." That is, it will be slow and maybe dull. And historical material will probably be in this documentary, and it will be done in a "lyrical form, usually associated with the 1920s and modernist ideas," according to Nichols. Right there is value because if a teacher, for example, is looking for an interesting documentary to show to high school students, and that teacher has a copy of Nichols' Introduction to Documentary, he or she will definitely avoid a documentary that has "Poetic Mode" written on it by reviewers."
Abstract This paper examines the documentaryfilm "Seven Up!" directed by Peter Almond. It looks at whether the film presents the true voices of the children involved; what they actually think and feel. The paper also examines the way in which children and childhood are presented by the film and the importance of the film in terms of developing our understanding of childhood. The paper argues that the film does not present the true voices of children but rather how these voices are shaped and influenced by the children's environment and their social and economic status.
From the Paper "Childhood is a socially constructed concept and as such hides the vast differences between children in terms of age, gender, ethnicity and social status. The film attempted to highlight these issues to some extent. The children chosen for the film were all seven year olds from Britain. Hence in some ways they all shared the same concept of childhood, the western one (as opposed to for example non-western, developing country childhood). To some extent there is a cultural chauvinism in the film, since the children are all fit into this western concept of childhood."
Abstract Examines four documentary television films related to war, politics and the media. The the 1988 "Coverup: Behind the Iran-Contra Affair, the 1992 "Panama Deception," the 1991 "Desert Storm: The War Begins," and the 1993 "Manufacturing Consent: Noam Chomsky and the Media." Central concerns of the films. Role of news gathering organizations.
From the Paper "Political documentary films have addressed a wide range of topics and have frequently seemed to produce action where the impact of the written word was far more limited. Indeed, filmed (or videotaped) news reports have even been credited with turning the American people against the war in Vietnam. But the responses of the military, the government, and the mainstream media to this presumed potential have concentrated on reducing the perceived threat of reporting by a number of means. Once it is clear, or seems to be clear, that a medium is capable of exposing activities to the public the leaders of the American executive and military often seem to think the logical response is simply to hide it better rather than, as it once seemed, to correct the problems.
The 1971 CBs television documentary, The Selling of the ..."
Abstract This paper analyzes four documentaryfilms in the context of world history. It discusses the history behind each film and how the film the audience a taste of what it was like to live in that time. The program offers reenactments of possible events during this period of history. This helps the viewer to see the various environments and filming theory that help bring to life a by-gone age. The paper also discusses any interviews that were screened in the films about the time period.
From the Paper "Film Studies: Analyzing four Documentary Films in the Context of World History Film 1: Japan: Memoirs of a Secret Empire. This film seeks to understand and verify the historical premise of 16th through 19th century Japan. The various issues of Tokugawa Era samurai classes and the Shogun's leadership are evaluated through a variety of international sources. The program offers reenactments of possible events during this period of history. This helps the viewer to see the various environments and filming theory that help bring to life a by-gone age. Also, there are interviews with various western and Japanese scholars that abound within the historical topics being discussed. This helps to create a more balanced approach to realizing the impact of historical events that would influence Japan's role in the world theater after the end of the Tokugawa government."
Abstract This paper explains that the full-length documentaryfilm "Brats: Our Journey Home" demonstrates that military life for children can make for a trying childhood because of the constant traveling and lack of stability. The author states that he is not a military brat but sympathizes with these families and understands the personal trials and tribulations that these children face. Living up to expectations, the separation and the stress of danger are problems of these children discusses; however, the author sees the opportunity to travel as an advantage of being a brat. In comparing his life to that of a military brat, the author says that his own life may be boring but blessed.
From the Paper "I do envy a military brat's ability to see the world. I have always wanted to travel and have never really had the means to do so. The experience of seeing so many different cultures would seem exciting but I imagine would leave an American child feeling like and outsider in a vastly different world. After being out of the United States for a while, I can see how coming back to the country would also make you feel like an outsider in your own hometown."
Abstract The paper discusses John Grierson, his life, activities, his influential character and achievements, and states that he was the moving force behind the development of the documentaryfilm in the 1930s. He was a filmmaker, producer and a guide to many young filmmakers. The paper notes that Grierson was a man who valued truth above all else and saw the documentary as a way of seeking that truth and then bringing it to the attention of the masses. The paper also discusses how Grierson recognized the value of segmenting his film-making into various categories, such as straight documentaries, educational and entertaining films, and directed them as political tools. Additionally, the paper looks at how Grierson experimented with different techniques, introducing music to his film making. He served as a teacher and model to others.
Outline:
Introduction
Biography
Conclusion
From the Paper "With the success of Drifters, Grierson was able to further his ideas, but rather than directing other films, he devoted his time to building up a film unit and training its members, gathering young men of like mind, including Basil Wright, Arthur Elton, Stuart Legg, Paul Rotha, John Taylor, Harry Watt, Donald Taylor, Edgar Anstey, and more. these men were "united by a common enthusiasm and a common aim". The E.M.B. Film Unit in the early 1930s had an atmosphere that was energizing and inspirational, with Grierson being one of the main reasons for this state of affairs. He also saw the documentary film as basically a British movement, and certainly Britain was welcoming to him and the movement and offered considerable support."
