The documentary film (or documentary ) is a film genre and television . In radio, we talk about radio documentary .
In general, this category film set itself the objective of producing theoretical representation of reality, without affecting its development, a reality that is a priori independent. He is opposed to the fiction , which allows to create the reality it represents through, usually, a narrative which is to produce the illusion. Fiction, to produce this reality effect is therefore based, among other things, a story or screenplay and directing . By analogy with the chiropractic marketing literature , the documentary is to fiction what the test is novel . [ref. required]
Such a definition is not strictly a documentary because certain features may overlap of fiction, including via reconstitution as docudrama or through reflection upstream on the subject, which can lead to a scenario more or less developed. Similarly, shooting a documentary influences the reality he films and sometimes guide, making illusory the theoretical distance between reality and filmed the documentary.
The documentary is also distinct from reportage . It is sometimes very difficult to distinguish between a story and a documentary. We must therefore judge the works in their entirety, on a set of more or less subjective criteria, among which include the author’s intentions, the synopsis , the duration of the film, the choice of framework, instant payday loans the sophistication of the assembly , the soundtrack and music, the techniques, language, processing time, the use of actors, the reconstructions, the stagings, originality, or rarity. It is also possible to distinguish documentary report citing the fact that the author of a documentary called reality in itself, while the ratio is reversed for the report [ref. required] .
History
Origins
The cinema before Chrome Wire Shelving 1900 was dominated by “news”: the first movies were inherently short documentaries, moments of everyday life captured on film, like a train entering a station. The technical constraints were that each film did not exceed one minute. But the idea of “documentary scene” is attested from 1906 , and that of “documentary film” substantivée in “documentary” from 1915 .
In general, this prior art French is still sensitive, in the year 1930 , several pieces of German and American at the time citing the French word rather than its local equivalent. Very few stories were still told at that time through the new media, mainly because of technical limitations. The tradition of the news is an important tradition for the documentary, these stories were sometimes staged events that actually took place (eg for the battle scenes where the cameraman arrived after the fighting).
In the terminology of photography , the term documentary is from the late 1920s . His first Denver Divorce Attorney case as a kind of definition is difficult to spot, but the legend – also born in the late 1930s – is that the term was first appeared in 1926 , in an article by John Grierson ‘s film on Robert Flaherty , Moana .
In 1934, when he wants to make movies to really make the public discover the sensation of the skier and mountaineer that is, the future master of mountain cinema Marcel Ichac and buys one of its cameras flea . Marcel Ichac is thus one of the first to use a mobile camera, he clings especially to ski in the movie “36 Candles” (1936).
Decline and revival
When Robert Flaherty turned Nanook of the North in 1922 , the fictionalized documentary film was intended; Flaherty was playing its protagonists pretending to document. He forbade the hunters of walrus to use guns , they had to use spears they used a long time, putting himself at risk of stroke. On the other hand, the stage of seal hunt is pure fiction. Indeed, Nanook pulls on a rope after which there is a dead seal. This little scene and many other things, shows us the limits of capturing the real spirit intended by the documentary. Such manipulation, made without public notice, were illinois dui lawyer later seen as dishonest.
During the 1930s , the documentary filmmaker and critic John Grierson argued in his essay First Principles of Documentary that the film Moana Robert Flaherty had a documentary value , listing a number of principles in his own documentary film. According to him, the potential of cinema to observe life could be exploited in a new art form, the original actor and the original scene are better guides than their fiction counterparts to interpreting the modern world, the raw material is also inherently “more real” than the scene played. In this regard, Grierson’s views were not very far from those of Dziga Vertov , who worked for news Soviet ( Kino-Pravda , literally ” film truth “) and showed his contempt for” bourgeois fiction “. Grierson’s definition of documentary as “creative treatment of actuality” had some success although the staging post raises some ethical issues in rewriting history. Grierson, however, in addition to his work as a documentary, also set up an institution of its kind, the National Film Board of Canada .
After experiencing years of alienation before and immediately after the war, the kind received renewed recognition with The Silent World of Jacques-Yves Cousteau and Louis Malle , sacred Golden Palm at Cannes in 1956 . The technical evolution and bubbling critique of postwar allowed between the years 1950 and 1960 released documentary about the movie studios: The Raquetteurs , documentary Quebec shot in 1958 is a good example of this distancing immersion in the subject being filmed. We may also note the importance given to the film library of the Ministry of Agriculture, in 1947 around Armand Chartier , loyal many new talents: over 500 documentaries for popular education and rural products and a harvest of 127 international awards .
“Cinema du Reel”, “Fictions of the Real”, “Cinema truth”, “Direct Cinema”: creative documentaries are informed by research into film scripts. While the collective historical documentary is part of the time (Ardèches Images, Iskra Films d’Ici, Films Grain de Sable, Orchids, Varan, etc..), The late twentieth century saw the emergence of particular works of Raymond Depardon , Joris Ivens , Robert Kramer , Chris Marker , Pierre Perrault , Jean Rouch , Johan Van Der Keuken , Agnes Varda , Frederick Wiseman .
The documentary has regained recognition in France since the late 1990s , figures prominently weekly outings as The Terrans of Ariane Doublet , up to popular hits with exceptional Be and to Have to Nicolas Philibert . The genus animal was renewed under the leadership of Jacques Perrin ( Microcosmos , Winged Migration , Oceans ), who became famous internationally in 2004 with the movie The March of the Penguins (an adventure film Bonnepioche Productions has reissued the revival of the genre in 2007 with animal The Fox and the Child ).
On the television, the channel Arte (France, under the leadership of Thierry Garrel ) is a pioneer of the constancy of its programming and the bold creations atypical that it offers to the public. The market Sunny Side Of The Doc and the festival ‘s Documentary The States General are unmissable events of the profession.
At the turn of the century, the United States , Michael Moore knows a commercial success with his film Fahrenheit 9/11 and Bowling for Columbine , or the recent film Super Size Me of Morgan Spurlock has been some influx.
The documentary, in France in the early twenty-first century, is particularly marked by the works of Pierre Carles , Jean-Michel Carré , Yves Billon , Jean-Louis Comolli , Richard Copans , Cyril Mennegun , Luc Moullet , Didier Mauro [1 ] , Yves Jeanneau , Patrick Rotman . Meanwhile, theoretical studies and monographs are developed.
The question of objectivity
Practice shows that the line between objectivity and perspective of the filmmaker is particularly tenuous: a documentary approach continues to meet its author, and therefore offers a unique vision. This view is mainly due to choice, either in the subject matter, means, approach or, particularly, the mounting . A documentary is a work of creation, which can not claim objectivity, contrary to what it sees often implicitly invested.
In the history of cinema, the documentary has often been a cause or propaganda : Land Without Bread of Luis Buñuel , The General Line of Sergei Eisenstein , The Triumph of the Will of Leni Riefenstahl show the extent and impact that the genre can take. Why We Fight , from Frank Capra , was a series commissioned by news the U.S. government to convince the public that it was the time to make war. This can however lead the militant documentary to influence what he wants to film, thus adopting an attitude of director in the most traditional sense of the term. Thus one can not separate developments between 1935 and 1950 documentary of the history of propaganda, Why We Fight the United States, and the founding of the NFB in Canada and Grierson is a direct response by these States to Triumph the willingness and Joseph Goebbels .
Further north, in 1958, within the NFB led by filmmakers like Michel Brault , Pierre Perrault , Gilles Groulx and Arthur Lamothe , a revolution occurred with the Raquetteurs . Article on direct cinema reflects the technical and ideological ferment of this period, the golden age due to technical innovations, commitment to social, political, and ethical questions about the ability of cinema to explain reality.
Elsewhere, denver auto accident lawyer in the years 1960 and 1970 , the documentary raises questions of her forehead compared to the real asset and reasonableness. He was often seen as particularly political weapon against the capitalism and neo-colonialism , particularly in Latin America: La hora de los Hornos ( The Hour of the Furnaces , 1968 ), of Octavio Getino and Fernando E. Solanas , who influenced an entire generation of filmmakers.
After the particularly critical eye placed on our societies and institutions between 1960 and 1970, a new approach hcg diet arises between the 1980s and 1990s , girls marketing, public relations Buy Phen375 and steeped in political correctness . The documentary then presents itself as fiction, echoing the war discourse that characterizes contemporary societies. A major French directors in this matter, Agnes Varda , even titled one of his films Documenteur ( 1981 ), highlighting the ambiguity or the illusion that the attitude could maintain the viewer, giving its name to this new kind hybrid between documentary and drama, also used the term mockumentary . Several directors, denying any truth to the movies, actors choose to direct their documentary to find some buried emotions or produce meaning effects that cinematography, by its very nature, suggests ( Luc Moullet , Francoise Romand , Errol Morris , Abbas Kiarostami …)
A line of documentary films that developed on a subjective mode-critical, far removed from the claims to “do the real state”. These films work to how literary essays or pamphlets can take the world without the slightest effort to be impartial. This attitude is already visible in the film critic Guy Debord whose whole work was not to observe reality in our society, but to change it by establishing it as insane.
Distance about
Taking “live”
The Soviet filmmaker Dziga Vertov offered to film the life “as it was,” that is to say, as the surprises or causes.
Different directors have taken different positions regarding the degree of participation. Kopple and Pennebaker chose the non-participation in the action. Rouch, Perrault and Kroitor, however, were often directly involved or even provoked action film.
The films Harlan County, United States (by Barbara Kopple ), Dont Look Back ( Donn Alan Pennebaker ), Lonely Boy ( Wolf Koenig and Roman Kroitor ) and Chronicle of a Summer ( Jean Rouch ) are often considered as typical of cinema verite or direct cinema . There are still some misunderstanding between cinema-vérité (Jean Rouch in) and direct cinema in North America , with Michel Brault , Richard Leacock and Frederick Wiseman among its pioneers.
Compilation
The creation of compilation films is not a particularly recent development in the documentary field. Among its pioneers found particularly Esfir Schub and Fall of the House of Romanov ( 1927 ). Among the more recent examples, we also Relevant Life Insurance note Point of Order ( 1964 ) of Emile de Antonio on Commission hearings McCarthy and The Atomic Café , built entirely from movies of “information” produced by various U.S. government agencies on Safety of Radiation Nuclear (it was explained to the soldiers they would be protected if they closed their eyes and mouth at the time of the explosion). The Last Cigarette alternates meanwhile the testimony of corporate executives to tobacco before the Congress American and old advertisements proclaiming the supposed benefits of smoking .
Reconstitution
Some scenes not filmed at the facts, sometimes blended with the actors or with actors. These scenes are said to illustrations, and may be accompanied by maps, plan, voice … When the document brings together so many such scenes it looks like a movie , talking about docu-drama , fender flares so the risk of non-resemblance is great.
Anecdotes
These are the technicians of Disney , who built a snow-covered turntable to create the impression of lemmings migrating like crazy and eventually flow into the sea documentary The Desert Arctic won an Oscar for the film in 1958, this falsification and influence today’s popular image of lemmings (actually moving mass but do not commit suicide ) 1 , 2 .
As for the reconstructed images of the revolution of October of SMEisenstein, they have been cited in many documentaries as if they were shooting history.
Released in fall 2006, the documentary film An Inconvenient Truth , which takes Chicago Criminal Attorney an entire conference of Al Gore , builds on the recent climate events such as Hurricane Katrina in the 2005 season .
Notes and references
↑ ( in ) Riley Woodford, Lemming Suicide Myth. Disney Film Faked Bogus Behavior [ archive ] Site Wildlife Conservation [ archive ] , accessed May 2010.
↑ Suicide lemmings [ archive ] on the Encyclopedia of Knowledge Relative and Absolute online [ archive ] , accessed May 2010.
See also
References
François Niney , The Ordeal of reality on screen , De Boeck (2002) (2 th edition)
Jacques Rancière , The Fable film , Threshold (2001)
Guy Gauthier , documentary, another cinema , Nathan (1995)
Erik Barnouw, Documentary. A History of the Non-Fiction Film , Oxford University Press (1993)
Julianne Burton (ed.), The Social Documentary in Latin America , Pittsburgh, Pa.: University of Pittsburgh Press (1990)
Marc Ferro , Film and History Collection portfolio
Bassan Documentary or Containers Documentary , in Dictionary of Film, edited by Jean-Loup Passek (Larousse Editions, 1986, pp. 189-192)
Bill Nichols, Representing Reality: Issues and Concepts in Documentary , Indiana University Press (1991)
Ian Aitken (ed) Encyclopedia of the Documentary Film , Routledge, 2005, ISBN 1-57958-445-4
Pédauque (Roger). – The redocumentarisation the world . – Toulouse: Cépaduès Publishing, 2007. – 213P. No. 11 754.
Didier Mauro , The Documentary, Film & TV Editions Dixit, 2005 (second edition)
Didier Mauro , Documentary film, sociology of art between rebellion and alienation, Paris, University of Paris III (2003)
Jean-Charles Fouche: “My guide filming – Montage”, Bay of Angels Publishing, 2009, ISBN No 978-2-917790-02-1.
Related articles
On the other Wikimedia projects:
Documentary , on Wiktionary
Institutions
BiFi ( Film Library )
CNC ( National Center of Cinematography )
INA ( National Audiovisual Institute )
NFB ( National Film Board of Canada )
SCAM ( Civil Society of Multimedia Authors )
Unifrance
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www.film-documentaire.fr
Filmmakers of our time
Cinema
Direct cinema
Documentary essay
Docufiction
Radio documentary
List of documentary by continent
The documentary is the expression of an aspect of reality, shown in audiovisual form. The organization and structure of images and sounds (texts and interviews), according to the author’s point of view, determines the type of documentary.
The timing of the materials, treatment of the narrator, the nature of Plastic Storage Bins the materials, completely real, recreation, youth club, etc.-give rise to such a wide variety of formats today, ranging from pure documentary to creative documentaries, through models of reports varied, reaching the docudrama format (in which real characters play themselves), reaching online cash advance the mockumentary sometimes known as a mockumentary . 1
Often, programs fiction adopt a mode of narrative structure and very close to the documentary, and in turn reproduce some documentary resources of the creation of works of fiction.
Content [ hide ]
1 Documentary History
1.1 Origins: Louis Lumière Denver Divorce Attorney and cinematographer (before 1900)
2 Vertov and Flaherty: parents of the documentary
2.1 Dziga Vertov
2.2 Robert Flaherty
3 Types of Documentary
4 The documentary today: the possibilities of the network
5 Documentaries on TV
6 Documentary Film Festivals
7 References
8 External Links
History of the documentary
Origins: Louis Lumière and cinematographer (before 1900)
By 1894 several inventors were in the race t shirt printing to develop new devices to capture the motion from photographs, among which were the American Thomas Alva Edison and the French brothers Lumiere . The latter would get the win in 1895 with the unit: the “Cinématographe” or cinematographer . It was portable and weighed only five pounds, compared to the giant “Kinetoscope” or kinetoscope of Edison, which required several men to move from one place to another and was usually anchored to the ground in a kind of study.
These technical differences offered the possibility to easily carry the cinema anywhere, can portray the reality of the outside world. Furthermore, this device offered other attractive features: with only minor adjustments could be transformed into the projector and also in press.
The same Louis Lumière embody the figure of the messiah of the documentary, not only with his great invention, but also the first documentary film, the sequence level workers leaving the Lumière factory , in 1895 . Then came the public presentation of the invention where Lumière screened the film. After that presentation followed by others in different parts of France, creating great uncertainty. Lumière not only limited to present this film, but that would make others, including prominent figures who came to see his invention and who unknowingly had been captured by the lens of Lumière, then to my surprise, being portrayed in films those who attended and were coming.
But Lumière plans were not limited to these demonstrations. With great vision and cunning was spent to hire and train a small army of travelers who would be responsible chiropractic marketing to bring his invention to all corners of the planet at the same time people went to document these places and show some films already made by Lumière.
Your staff took care to capture a single plane films, called “current films,” which portrayed moments such as the arrival of boats for a port, the approach of a train, people working, etc.. Thus, this early stage of the birth of cinema was marked by a fashion show event in short Chicago Criminal Attorney periods of time, mainly because the cameras could only contain small amounts of film, many of them a minute or less in duration .
However, this film was later called film document because if it was true that featured images of reality, showed no clear view of her or trying a drama itself, were only planes that were in line with developments at the time of language of film, these films are not documentaries. The term documentary was attributed later to John Grierson who, in addition to several works, theorized on the subject.
Vertov and Flaherty: parents of the documentary
If the Lumière brothers were responsible for laying the foundations of the relationship of cinema to the world: looking at what they had closer, Dziga Vertov and Robert Flaherty were among the first to adopt the fledgling format, and now threatened by the objectivity, and defend its core film. Each from very different positions, but always away from what years later would be identified as documentary or television news reports .
Dziga Vertov
Main article: Dziga Vertov
Was primarily an artist and an experimenter. Long before the fall on the film, worked the sound, and radio, experimenting with sound collages, in search of a lens or assembly is not necessarily realistic. His most famous film, The Man in the chamber , part of the idea of collecting “life suddenly,” and represents one of the summits of world cinema for its formal experimentation, rapid assembly and movement of the plane and not in plane , as had been usual. The film, shot in different cities, recreates a day in the life of a cameraman who covers the city in search of images. Besides being one of the first film without intertitles , is the first to reveal the process of creating the film itself, to show the maker choosing, cutting and mounting planes, emphasizing that, Relevant Life Insurance as argued Vertov, objectivity does not exist, at least in the movies. Promulgated the theory of “cinema eye”, in which the camera shows what the eye sees not, for which experienced several times with the belt speed and the camera positions, pursuing what the eye could not see .
Robert Flaherty
Main article: Robert Flaherty
Considered one of the fathers of documentary film. His first film, Nanook of the North ( 1921 ), had to shoot twice, after losing all the footage for years in a fire in the laboratory. This accident opened his eyes, and decided not to simply record reality, moving to a more active part in it, creating, from real materials, a complex narrative. Flaherty sat the foundations of a documentary film far removed from what later came to consider documentary television reportage. His subsequent films deepened in this way of working and of conceiving the documentary film, more like a personal view of author as an objective picture of reality.
Types of documentary
Focused on an event. The event is the backbone of the film. This may be the launching of a ship, an exhibition of dairy products or the capture of a notorious criminal. The event has phases, and its course may appear interviews, timely pieces of the past or even fragments of the future (the story of the criminal).
Defining a process. Present string made up an interesting process. fact complement each other, it is reduced to the essentials of each one of them, resulting in the irony and comparison between different fragments.
Travel. The lure of travel, with all its nuances and rhythms incorporated metaphorical motion applied to the documentary.
Walled City. Is using a microcosm for criticism implied a larger scale.
History. Since every film playing all that has passed, all films are historical. The cinema is a means to revive the past. The very medium of film, its realism and its movement is inevitable over time, there is no way of illustration, the screen looks like a car that is extremely poor because the meaning of the story is pure abstraction. The historical documentary is not intended to Containers convey to the audience overriding all the scope of an issue: the objective can be a character or a particular case.
This family of documentaries lies another group mainly characteristic of the contemporary era, and are as follows:
The documentary of the absurd: Use the surreal humor to explore what would be a sad situation.
Thesis film: It uses evidence to argue cases.
The oMedia eccentric characters and absurd situations portrayed.
Biopic: It narrates the life of a character.
The black film: Une through fatalistic, dark style, the world and its participants with the black film.
Documentary Reporter: Focus on an objective viewpoint.
Documentary lawyer: Shows the drama of everyday life.
Documentary browser: Motion pictures are the basis of life.
Documentary task: The video is made for II
The documentary today: the possibilities of the network
The many options offered by new technologies to produce and make available to the public this type of work has made the short film genre has experienced tremendous growth in recent years. Through platforms such as YouTube , the defunct MSN Soapbox for Microsoft , Yahoo! Video and Joost , Internet users can upload their video documentaries and enjoy the works of others.
As for the screening of documentaries on the Internet, many of these are subject to copyright , so access is not free, although there are many options for viewing movies such laws respecting intellectual property . For example, in Spain, users have the option to watch documentaries for free by accessing specialized pages offer some movie films (classic and current titles) to its users.]
The documentary is a film genre that deals with actual events. Unlike the movie , this is usually done without paid performers .
There are a wide range of different types of documentary, which extends from the attempt instant payday loans to create a very pure document, the docu-soap up to the docu-drama covers. Another step is the enactment of scenes that would have so held, or partially so have also taken place ( reenactment ).
Contents [ Hide ]
A truth and authenticity
Two story
2.1 Beginnings
2.2 1920s
2.3 1930s and 1940s
2.4 Since the Second World War
Three specific genres
4 Commercial Success
5 Known documentary
1.5 Germany
2.5 Other European Countries
5.3 Africa
4.5 Asia
5.5 Australia
6.5 Latin America
7.5 North America
6 Documentary Film Festival
7 literature (in chronological order)
8 See also
9 Notes and references
10 Web Links
Truth and authenticity
In a documentary of the claim is made, authentic being. The presence of the camera and the camera crews dominate the situation, but not always, though perhaps only slightly. To give the audience the opportunity to judge the authenticity of what is seen themselves serious documentary nature and extent of influence by appropriate means transparent. The authenticity of a document depends on not only the authenticity of what happened, but also on its representativeness. The representation of a scene in the absence of explanation suggests that it is typical in any way. Also the perspective of the filmmaker and his commentaries evaluate what is shown. In this sense, there is no “real”, keeping the authenticity of documentary.
“For me, it does not really matter, by any means a film works, whether he is an actor’s film or a documentary with staged images. In a good movie is about the truth, not the reality. ”
- Sergei Eisenstein , 1925
Some wildlife documentaries are working with trained animals. This is no documentation in the proper sense. Often influences the film crew, the scene but also aware of such provocation by the animals. Here is the character of a document preserved only if the audience is made transparent to the doubt or a typical event (the appearance of a prey animal) corresponds. In a notorious negative example, the film White Wilderness , in 1958 an Academy Award , was awarded constructed technicians of the Walt Disney Company, a snow-covered rotating table to give the impression of wild wandering lemmings produce, which then over a cliff into the sea collapsed. The deception continues to shape the popular understanding of lemmings. In fact, they move temporarily taking leave in droves, but mass suicide.
The real illinois dui lawyer documentary is different from many formats, this documentary journalism, scientific research and the history that is at least trying to get closer to the truth and which is based on a probability. Increasingly, there are TV shows that suggest to the audience massively, it would be a documentary, though in fact after a script is played or the like.
The experimental documentary as a genre of experimental film uses playful elements and conventions of the documentary.
History
Beginnings
Rudolf Pöch
The first “moving pictures” were by definition documentary: individual attitudes, the moments of the life on film banished (the train entering the station, that docks with boat, the workers leaving the factory , see the Lumière brothers ). In early films, late 19th Century still dominated the representation of events. Were mainly due to technical limitations hardly tell stories: the big cameras only had room for little footage.
As a pioneer of the documentary is, among other things the Austrian ethnographer Rudolf Pöch , the 1901-1906 sensational shots of the indigenous peoples of New Guinea to get picture and sound.
1920s
Flaherty
In 1922, produced by Robert J. Flaherty, the first feature-length documentary film, Nanook of the North . Already adopted in the film, the documentary film of the “truth”: Numerous presentations and instructions of the director were to improve the conversation and to represent a supposedly “more coherent” image used. There was thus Flaherty that a gun found in the film, although the Inuit had long accustomed to its use. In another place, a half-igloo was built, allowing the camera to film the life inside the igloo. The actors, though not an actor “playing” the act for the camera . The construction of the igloo for interior shots without a roof was designed to adapt to the contemporary state of the art.
Later productions that viewers are kept secret, unethical, and considers the nature of the documentary contradictory.
Culture Film
In Germany, the culture is one of the oldest documentary film genre. Already in the time of the Weimar Republic was addressed in the UFA , which had in Berlin-Steglitz own culture film studio, with the production of educational and instructional films, ie, popular science animal sciences, natural sciences, medicine and travel films presented in the accompanying program of cinemas were. Under the direction of Wolfmar Junghans and cheap auto insurance quotes his successor Ulrich KT Schulz studio developed this specialty in the years to become the world’s best of its kind
Subject of urban
The European realist tradition has focused on urban environments in films such as Rien Que Les Heurs (1926) by Alberto Cavalcanti , Berlin: Symphony of car shipping a Great City (1927) by Walter Ruttmann and The Man with a Camera (1929) by Dziga Vertov . With its highly artificial, partly Expressionist approach or alienating these early stages, however, exceed the limits of the documentary genre later.
1930s and 1940s
Newsreels and propaganda
The newsreel tradition is an Chrome Wire Shelving important tradition of the documentary. The events filmed for the newsreels were often reproduced, but rarely freely invented. For example, many fight scenes were enacted, as camera operators usually only after the battle appeared. Dziga Vertov , the 1921 documentary film-maker group Kinoki had founded, produced in February 1922, the monthly published in Russian event show cinema Pravda . Frank Capra’s Why We Fight was a seven-part film series which was commissioned by the Government of the United States in order to lead the domestic audience of the necessity of war to convince.
National Socialism
Some of the most famous German propaganda films – such as Leni Riefenstahl’s film Triumph of the Will and Fritz Hippler’s The Eternal Jew – as emerged documentaries under National Socialism. The documentary film production in 1933 was promoted faster than previously developed and targeted. The Ufa plant in Potsdam-Babelsberg in the mid-1930s under the leadership of Nicholas Kaufmann two cultural film studios with specialized equipment for underwater photography and for the then brand new photomicrography. The production of non-fiction, mainly educational films about the feature film production increased in number by far. Apart from the films of Leni Riefenstahl and Walter Ruttmann , most of these films are cultural film historically interesting but rarely today.
Grierson
In the Buy Phen375 1930s, the documentary filmmaker and film theorist argued John Grierson in his essay First Principles of Documentary Film Robert Flaherty’s Moana (1926) had “documentary value” and established a set of principles for the documentary. Grierson According could the potential of cinema to watch the life that lead to a new art form: the ‘original’ actors and the “real” scene are better suited to the modern world to be interpreted as the fictional and the gained raw material is more real than the played. Insofar Grierson agrees in part with Vertov’s contempt for the match ‘bourgeois’ feature film. In his essays had Dziga Vertov advocates to show life “as is”, ie the unobserved or surprise of life. Grierson established himself in his film Drifters (1929) as a leading documentary filmmakers of the British documentary movement of the 1930s Bankruptcy and led the GPO Film Unit .
Since the Second World War
Direct Cinema and Cinéma Vérité
The films Harlan County USA ( Barbara Kopple ), Dont Look Back ( DA Pennebaker ), Lonely Boy ( Wolf Koenig and Roman Kroitor ) and Chronique d’un été (1960) ( Jean Rouch ) are the Cinéma vérité and direct cinema counted . Although the terms are sometimes used interchangeably, there are important differences between cinéma vérité and direct cinema to the American, whose pioneer Richard Leacock , Frederick Wiseman and the Maysle brothers [1] denver martial arts count. The directors occupy different positions in terms of the degree of intervention. Kopple and Pennebaker, for example, prefer a minimum of interference – the ideal situation would be pure observation – while Rouch, Koenig and Kroitor consciously intervene and provoke reactions.
In Germany, especially Klaus Wildenhahn of Direct Cinema influenced.
Documentary and feature film
The Cinéma Vérité is common with Italian neo-realism the tendency to lay to film on location, fender flares and the French Nouvelle Vague was often not in the script and dialogues related to hand-held cameras and synchronized sound use.
Documentary and Politics
In the 1960s and 1970s, the documentary often as a political weapon in the fight against neo-colonialism or capitalism in general, understood, particularly in Latin America. La Hora de los Hornos (1968) The hour of the fire by Octavio Getino and Fernando E. Solana’s influenced a whole generation of filmmakers. Still plays an important role in the political documentary, there were the films of the Austrian director Hubert Sauper , or the films of the German film producer Kathrin Lemme , whose documentary bully (directed by Shaheen Dill-Riaz) including the Grimme Award 2010 won.
Nature and the Environment
During the Second World War, the behavioral scientist and filmmaker worked Heinz Sielmann first documentary on animal films . After the war he created internationally acclaimed films. He received his first award in 1953, the German Film Award with the film strip in silver , for his direction in quick – the squirrel . He also worked as a photographer at the semi-documentary film The Hellstrom Chronicle with, as best documentary in 1972 with an Oscar award.
The first documentary of the underwater world created both the French oceanographer Jacques-Yves Cousteau , and the Austrian diving pioneer, marine and behavioral scientist Hans Hass , who with a self-developed ” aqualung made ”too early as hcg diet the 1940s, underwater films. Here in 1942 the film was stalking under water , especially in the 1950s and 1960s, several highly acclaimed underwater films from the 1960s and even t shirt printing sociological-critical considerations in the television series We human beings .
The movie lights under water by 1952, is the world’s first color underwater film.
Created in 1953 James Algar with The Living Desert one of the most successful wildlife films. The sophisticated treatment through artistic editing and music established the genre to feature-length family movie .
Producer Hans Domnick traveled from 1958 to 1961 with his wife Mary of North and South America, while the documentary turned Panamericana – dream street in the world that was so extensive that it had to be split into two parts. The film won the Silver Bear at Berlinale 1961.
Even better known was the zoologist Bernhard Grzimek , the first with his son Michael Grzimek 1956 film No room for wild animals and turned the documentary Serengeti shall not die in 1960 became the first German since the Second World War an denver auto accident lawyer Oscar. During the filming of Michael Grzimek was killed.
Specific genres
Compilation film
Compilation film means a film made of newly assembled archive footage, interviews, consists scenes. The pioneer was Esfir thrust with the fall of the Romanov Dynasty (1927). Recent examples are the ordinary fascism of Mikhail Romm , Point of Order (1964) by Emile de Antonio about the McCarthy – hearings and The Atomic Café , which was created entirely from material that was creating the U.S. government to the population of atomic radiation ‘educate’. The soldier was declared, for example, they could pass anything, even if they were contaminated, as long as they kept his eyes closed and mouth. The Last Cigarette (1999) combined testimony of managers of the American tobacco industry, with archive material, which combines the advantages of Smoking praises.
Essay
A limiting form of non-fiction film, the essay film . The Direct Cinema in the exiled voice-versa zurückt, but loses her officious, authoritarian, pseudo-objective in nature. Among the important essay film Achern Guy Debord , Chris Marker , Raoul Peck and Harun Farocki .
Mockumentary
A mockumentary is a fake documentary, which serves the purposes of entertainment or to rouse the people so that they do not believe everything that is shown to them.
Pseudo-documentary (“Scripted Reality”)
is a fake documentary, in which the documentation is not a parody, but is imitated. [2]
Commercial success
Michael Moore’s film Fahrenheit 9/11 , wrote in June 2004 Film history: Never before had made a documentary film on the top of U.S. box office. Already the previous Moore’s film, Bowling for Columbine (2002), played in the U.S., a record result. Worldwide the film has Fahrenheit 9/11 in theaters around 222 million U.S. dollars [3] recorded. Thus he is the most financially successful documentary of all time. The second most successful documentary is financially at the time of the Penguins with revenues of approximately $ 127 million [4] .
Overall, the success has Fahrenheit 9/11 , the major studios prompted more documentation to bring back to the big screen and earn money. Examples are the Penguins , Planet Earth – The film and An Inconvenient Truth .