Reflecting reality in film documentaries Essay

The paradox of worldly concern stems from the fact that it is a combination of reckon and concrete concepts. Abstract since several(predicate) kinds of reality stub be field of forceively organize and understood. It can non be quantified from a single status al atomic number 53. In the meantime, reality is concrete since it is something that each(prenominal) and either individual essential promptly confront. Reality is part of mankinds constant struggle. The puzzling complexity that embodies the smell of reality is even more felt up on how it is depicted, presented or articulated in other forms.Literature exploits the power of haggle to explain reality, singers capitalize on music. farther the task be lifts even harder as for the wooing of get makers who atomic number 18 expected to practice both visual and musical elements to appoint reality. In film-making, it cannot be denied that the use of different technologies somehow affect how reality is appearancen. For every filmmaker, on that point is the challenge to make their whole works of art convincingconvincing, in the sensory faculty that a film seems to devoid of both technological mediation and corporeal lodge inand at the same time retaining the subject matter in its slender and thorough form.With this pursuit, the emergence of film documentaries came into disembodied spirit. Kibborn once remark that film documentaries aim to offer a window of the world (p. 53). This would not come as a surprise since films, whether they ar created for commercial purposes ar indeed reflections of a much wider world view. Some filmmakers devote f atomic number 18d well, while some, unfortunately, failed. On the other hand, there are others, who have seen film documentaries as a tool to immortalize not only their works but likewise their names. The film indus depict owes it all to the Lumiere Brothers.This times would not experience the beauty and prowess of films if not for these two. Since early film tools and equipments are not that sophisticated during that time, silent films pass to dominate the (big screen). However, what is even more abominable in this context is the manner in which the Lumiere Brothers have managed to present reality with pure visual images alone. charges do communicate and try to reach to their respective audiences. But because again, the absence of sounds seems to make the presentation a bit complicated and difficult.However, if one would bank to the principle in which reality is comprised of events that are experienced in everyday lives, situations that are usually confronted by ordinary peck, it can be fairly said that the Lumiere Brothers patronize out. If one has to take a appressed look at Arrival of a Train (Nichols 83), much(prenominal) event is commonly encountered. The camera focuses on the train and the mess that arrive in the station. A snug cerebrovascular accident is chosen as if difficult to tell every intri cate ecological succession and details of the said event.Unaware and unscripted, the actors are seen in their most natural shipway and manners. Such technique is too apply in Nanook of the North by Robert Flaherty. However, Flaherty collective some texts. Perhaps it can be argued that the Flaherty wants to make the a more burnished and descriptive storytelling approach. There is the intention to impact to the audience what is actually happening kind of than to interpret the stories on their own. There is a scene in the film wherein the ride is being covered with a region of cloth before going gobble up the river.In this racing shell, a close gap was again used, in gild to show how intricate the processes are. Yet, during the part wherein the actual journey is going on, a long dig was utilized, thus readily evoking a sentiment that the group is on their journey. The characters looked small during that shot and the notion of space and distance were further highlighte d. From documenting everyday routines to inserting texts in the film, documentaries are also flavored with the directors political perspective as for the case of Dziga Vertov.Hicks even described Vertov as the questionable genie of propaganda films primarily because of its strong red beliefs and visions (8). Taylor described that Vertov depicted reality through the montage technique (74). In this manner, Vertov, since he is also into propaganda reflects life beyond what is ordinarily seen, but rather it is on how it should be seen (Taylor 74). In the film, Three Songs of Lenin, different scenes are patched together. There is the part wherein a group of marching men were shown and followed by a scene that focuses on lead statues.Another group of marching people is presented but this time, women, with holding high supply guns are also shown, then it goes plump for to the tercet statues. Vertov, as a propagandistic who wanted to tell the people what life should be seem to purpor t that equality between men and women must be readily observed. At the same time, the three statues that are constantly shown is reflective of an political theory or school of thought that must be readily followed and practiced. In the meantime, whoremaster Grierson is a film critic who is one of those who laid down the foundations of realism theories in films (Aitken 162).Elis and Mclane noted that Grierson readily influenced many film makers (73). He is also responsible for proliferating such film genre in communicatory nations (Ellis & Mclane 73). Grierson firmly believes that in order to depict reality properly, reality should be free from all forms of manipulationthat it should be captured in its raw form rather than mastered in artificial environments (Aitken 167). whole caboodle Cited Aitken, Ian. European Film Theory and film A Critical Introduction. Scotland Edinburgh Press, 2001Ellis, Jack and Betsy McLane. A New History of Film Documentary. capital of the United Kingdom Continuum International Publishing, 2005 Hicks, Jeremy. Dziga Vertov Defining Documentary Film. capital of the United Kingdom I. B Tauris Publishers, 2007 Kibborn, Richard. Staging the Real actual TV Programming in the get along with of Big Brother. Oxford, UK Manchester University Press, 2003 Nichols, Bill. Introduction to Documentary. BloomingtonIndiana University Press, 2001 Taylor, Richard. Film Propaganda Soviet Russia and Nazi Germany. London I. B Tauris Publishers, 1998