An Investigation into the Portrayal or Truth Within the Documentary Genre

As documentaries essentially explain themselves as facts, there is a question about the boundary between the reality of the subject and the novel made by that creator. Since the edited content removes certain aspects and reinforces other aspects by definition, it is necessary to exploit innocent and natural prejudices formed by personal perception and, in the worst case, error messages It is necessary to operate. By studying various sources, you can discover the differences between the two methods (if any), develop a fact based program, determine the "gray area" variable between the two extremes, And determine different formats. Behavior w ^

Of course, the documentary can go back to the past. But in 2004, Michael Moore shocked the world with a thorough investigation into the Bush administration of the 9/11 Fahrenheit incident. He was the first doctor who won the Palm D 'and Cannes Film Festival, but we were not used to it. And movie makers played a role. From there, with the rise of survey journalism and reality show, the number of documents is the power to be considered. Super Size Me (2004) deals with the fast food industry, An Invenvenient Truth (2006) predicts climate change, Sicko (2007) eliminates health care, The King of Kong (2007) Follow categories and food company's food chain (2008). Even in 2010, through the gift shop, Jiro Dreams of Sushi in 2011 was able to advance the business through independent thought career.

News movies are an early example of what Bill Nichols calls documentary type explanatory models. The illustrated mode includes ethnographic and wildlife shoots where someone (perhaps a man) discovers and explains the truth behind the subject action. Strong demand for documentary production in this standardized dubbing mode has never been fixed. It is subject to moral controversy among the same subtypes. Anti-recording is important when they challenge the powerful voice of any external truth authority. Luis Buñuel's Las Hurdes (Land of Bread, 1933), Georges Franju's Le Sa ​​ngde Bêtes (Blood King, 1949), Alain Resnais' Nuit et Brouillard (Night and Fog, 1955) morally opposed I will. "Theme" keeps neutrality as well as the audience. The theme of the audience is the target of these movies, Buñuel, Franju, Resnais disable the whole representative approach.