Although his films are obviously the products of a strong viewpoint, Wiseman makes no editorial statement either directly through narration or indirectly through the interview technique. He also does not use other elements, such as music, to manipulate the spectator's feelings (Atkins 536-550)
After the Revolution, a move was made to nationalize the film industry, which at first was resisted but which was eventually effected. The Soviet regime exercised tight control over film production: "Films with a revolutionary content began to appear marked by the cloying, eulogistic manner then in vogue" (Barna 76)
In addition to narration, the reflexive mode may deliberately challenge our idea of reality by recreating scenes. This is one reason for the ethical questions raised by staged scenes such as are found in Errol Morris's the Thin Blue Line -- these staged scenes are subjective in that they have been shaped and are not real but based on a subjective interpretation of the evidence, but they appear to the viewer to be objective, as if they were taken on the scene at the time of the event (Bates 3)
The conditions of its production (relatively little shooting in the studio, film stock bought on the black market and developed without the normal viewing of daily rushes, postsynchronization of sound to avoid laboratory expenses, limited financial backing) did much to create many of the myths concerning neorealism. (Bondanella 37) Rome at the time was a just-opened city in that the Germans had just left, and the effects of the Nazi occupation were clearly still felt and contributed to the metaphoric meanings attached to the film
476). The Chinese film industry developed along ideological lines early, though it would be overstating the facts to find that the Communist groups in filmmaking prior to the takeover in 1949 were that influential: "The Communist Party and progressive filmmakers did not dominate the film industry; nor did those artists who were later called 'progressive' or 'leftist' necessarily subscribe to Communist ideology or the Party leadership" (Clark 10)
Films of this sort were made before cinema verite itself was created, such as Dziga Vertov's the Man with a Movie Camera (1929), but the later era produced Rouch and Morin's Chronicle of a Summer (1960), Ross McElwee's Sherman's March (1985), and many others. The films of Michael Moore seem to fit into this category to a great degree and certainly area built on the participation of the filmmaker himself (Cohan and Crowdus 25-30)
This property reveals that any two pieces of a film stuck together inevitably combine to create a new concept, a new quality born of that juxtaposition. (Eisenstein 63) Eisenstein in 1938 expressed the feeling that he and others had been wrong to adopt this idea so thoroughly
Most of the films are meant to be shown outside of theaters in schools and factories or by traveling projectionists in the rural areas. Hardy also finds that Grierson's activities in Canada are an extension of the ideas and experiments he had developed in Britain, and the National Film Board is using films "as they have never been used before, in a planned and scientific way to provide what might be described as a supplementary system of national education" (Grierson cited by Hardy 21)
Grierson did not necessarily like the term, but her introduced it in America in a review he wrote for the New York Sun in February, 1926, using it to describe Robert Flaherty's Moana, an account of the South Sea islanders. He would later define the term as "the creative treatment of actuality," and over the next few decades, this film form would "come to represent a vast and far-reaching use of the film for social analysis" (Hardy 11)
Let it be either art or politics. (Infield 73) Hitler himself asked Riefenstahl to film the 1934 Nazi party congress at Nuremberg
. (Kershaw 50) Ian Kershaw points out that in the election of March 1933, there was considerable support for the Nazi position, indicating that the people were adopting the policy rather than having it imposed on them
(Infield 74) Riefenstahl threw herself into elevating Hitler to mythic proportions, and she often shoots Hitler so that his features appear before clouds to suggest a mythic power. Symbolism is used throughout to promote Hitler and to promote the idea of Germany as the major power in the world: "This film represents an inextricable mixture of a show simulating Germany reality and of Germany reality maneuvered into a show" (Kracauer 303)
e. A cinema which not only will be opposed to bourgeois cinema in respect of its class attributes, but will also categorically excel it by virtue of its methods (Leyda 32)
e. A cinema which not only will be opposed to bourgeois cinema in respect of its class attributes, but will also categorically excel it by virtue of its methods (Leyda 32)
News and documentary programs on television are particularly popular with city viewers. Some of the documentaries are scenic in nature, showing different parts of the country, but they always manage to include images of local industry and production figures for the given area (Namioka 176)
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)
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)
Canada was one country where government support contributed to a rapidly expanding documentary movement, as set up under John Grierson in 1939. By the 1960s, the "increased spontaneity of the camera work, which captured activities as they unfolded, often unexpectedly, pointed toward new kinds of documentary which a new generation of lightweight, sync-sound equipment was about to make possible" (Nowell-Smith 333)
The way people are presented in such a documentary becomes problematic as we consider the extent to which we see a constructed image rather than a slice of reality: Interactive films may draw attention to the process of filmmaking when this process poses a problem for the participants; the reflexive mode draws attention to this process when it poses problems for the viewer. (Rosenthal 57) The documentary involves a certain reflexive component given that the material is shot and shaped by filmmakers with a point-of-view
I believe myself that he was essentially an investigator, in search of an art form that had not yet been created, and his films were just the first steps in the development of that art. (Swallow 42) Yet, these films were giant steps, taking the incipient artistry of the motion picture to the level of an art form and creating for it an aesthetic that differentiated it from other art forms