What strategies to Film‚ TV or Radio documentary-makers use to convey to viewers or listeners the ‘truthfulness’ of their work? What might be the problem with these strategies? Oxford Dictionary’s definition of documentaries is as follows “A film or television or radio programme that provides a factual report in a particular subject.” Documentaries are made to help inform and educate its audience‚ usually revealing new information on the chosen subject. Documentary-makers present factual information
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The key points in this question is when watching a documentary is our awareness as spectators a greater awareness than of a fiction film. When I first viewed ‘Senna’‚ I was made to go with what the film maker had put and my response was a visceral response feeling compassion with his parents. I was less critically aware of what I was watching as I was lead to believe what I was watching. However‚ on the second viewing I thought more about and questioned what I was watching and hearing on the screen
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‘Babies’ is a documentary film which chronicles the first year of life of four babies spanning the globe. Documentarian Thomas Balmès fans out to the grasslands of Namibia‚ the plains of Mongolia‚ the high rises of Tokyo and the busy streets of San Francisco in a study of culture‚ societal structure‚ geography and tradition‚ along with parental love and the impact all these elements have on child rearing. In the hunting and gathering society of Namibia and pastoral Mongolia‚ Balmès follows Ponijao
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"Gasland" and "Fracknation" are two documentary films based off hydraulic fracturing. Hydraulic fracturing as indicated by dictionary.com is the forcing open of fissures in subterranean rocks by introducing liquid at high pressure‚ especially to extract oil or gas. Hydraulic fracturing started as a trial in 1947. It is a technique where a high weight of liquid (more often than not chemicals suspended in water) is infused into a wellbore to make splits in the profound rock arrangements through which
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primary school in the Auvergne‚ a predominantly rural part of France. It is a documentary film‚ primarily operating through a fly-on-the-wall mode‚ that is to say without any discernable interference from the film maker. The camera appears quite simply to sit alongside the children and observe them as they go about their daily business in the classroom. What I want to do in the lecture today is discuss the ways in which the film both conforms to this idea of simply offering a window on the world‚ and
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the use of landmines in his documentary‚ Landmines a love story. The director reveals the views of the Afghani people towards the weapon through many uses of obvious and also subliminal techniques. Usually undetected by an audience‚ the music plays a major part in how the audience is shown the issue of landmines. Jumping between scenes that seem to contradict each other‚ O’Rourke sends his message home with juxtaposition. The irrelevant scenes throughout the documentary appear to show two sides of
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We all watch films‚ and documentaries. Generally‚ we learn some things from them‚ but can we be sure what we learned is true‚ and objective? If the films compare and analyze the context (religion‚ language‚ etc.) well‚ we call these kinds of films as ‘ethnographic’ films. A simple question can be appeared in our minds: which films are the ethnographic films? We will try to find an answer to this question with discussing the intentions‚ the wholeness and the ethics of ethnographic film-making.
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Initially‚ when beginning research on the Canadian Documentary as a national trend one may focus on the characteristics and themes that set this trend apart from others. As that information is very valuable in this deeper analysis of a film trend‚ it is important to take a step back and acknowledge that this trend must have had to start somewhere and that somewhere is someone‚ named John Grierson. His importance to the creation of Canadian documentary film proves to be extremely critical and essential
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The film Catfish‚ directed by Ariel Schulman and Henry Joost‚ changes our understanding of the truth about the media. After watching the film Catfish‚ the audience questions if the composers are controlling the truth about the media or showing what really happened. It is questionable that the directors would be able to record scenes that were significant enough to use in the documentary. Lastly‚ the responders are considered if the composers include and exclude different scenes in the media. The
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Name: Ossama El Garhy ID: 900113710 Section: 19 Date: 1/11/2011 “The Art of Jihad” Documentaries have a huge impact on one’s thoughts and beliefs. The Art of Jihad is one of the most interesting documentaries I have ever seen. It is about three American artists discussing the stereotypes about Islam especially in USA‚ and how they try to reveal the actual meaning of Islam through their works. Non-Muslim people‚ especially non-Arabs‚ do not know the real meaning of Islam. These people always
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