Documentary films constitute a broad category of nonfictional motion pictures intended to document some aspect of reality, primarily for the purposes of instruction or maintaining a historical record.[1] A 'documentary film' was originally shot on film stock — the only medium available — but now includes video and digital productions that can be either direct-to-video, made as a television program or released for screening in cinemas. "Documentary" has been described as a "filmmaking practice, a cinematic tradition, and mode of audience reception" that is continually evolving and is without clear boundaries.[2]
In popular myth, the word 'documentary' was coined by Scottish documentarian John Grierson in his review of Robert Flaherty's film Moana (1926), published in the New York Sun on 8 February 1926, written by "The Moviegoer" (a pen name for Grierson).[3]
Grierson's principles of documentary were that cinema's potential for observing life could be exploited in a new art form; that the "original" actor and "original" scene are better guides than their fiction counterparts to interpreting the modern world; and that materials "thus taken from the raw" can be more real than the acted article. In this regard, Grierson's definition of documentary as "creative treatment of actuality"[4] has gained some acceptance, with this position at variance with Soviet film-maker Dziga Vertov's provocation to present "life as it is" (that is, life filmed surreptitiously) and "life caught unawares" (life provoked or surprised by the camera).
The American film critic Pare Lorentz defines a documentary film as "a factual film which is dramatic."[5] Others further state that a documentary stands out from the other types of non-fiction films for providing an opinion, and a specific message, along with the facts it presents.[6]
Documentary Practice is the complex process of creating documentary projects. It refers to what people do with media devices, content, form, and production strategies in order to address the creative, ethical, and conceptual problems and choices that arise as they make documentaries.
There are clear connections in terms of practice with magazine and newspaper feature-writing and indeed to non-fiction literature. Many of the generic forms of documentary, for example the biopic or profile; or the observational piece. These generic forms are explored on the University of Winchester Journalism Department 'features web' where 'long form journalism' is classified by genre or content, rather than in terms of production as film, radio or 'print'.[7]
Early film (pre-1900) was dominated by the novelty of showing an event. They were single-shot moments captured on film: a train entering a station, a boat docking, or factory workers leaving work. These short films were called "actuality" films; the term "documentary" was not coined until 1926. Many of the first films, such as those made by Auguste and Louis Lumière, were a minute or less in length, due to technological limitations.
Films showing many people (for example, leaving a factory) were often made for commercial reasons: the people being filmed were eager to see, for payment, the film showing them. One notable film clocked in at over an hour and a half, The Corbett-Fitzsimmons Fight. Using pioneering film-looping technology, Enoch J. Rector presented the entirety of a famous 1897 prize-fight on cinema screens across the country.
The French surgeon Eugène-Louis Doyen started a series of surgical films sometime before July 1898. Until 1906, the year of his last film, Doyen recorded more than 60 operations. As Doyen said that his first films taught him how to correct professional errors he had been unaware of. For scientific purposes, after 1906 Doyen combined 15 of his films into three compilations, two of which survive, the six-film series Extirpation des tumeurs encapsulées (1906), and the four-film Les Opérations sur la cavité crânienne (1911). These and five other of Doyen's films survive.[8]
Between July 1898 and 1901 the Romanian professor Gheorghe Marinescu made several science films in his neurology clinic in Bucharest:[9] The walking troubles of organic hemiplegy (1898), The walking troubles of organic paraplegies (1899), A case of hysteric hemiplegy healed through hypnosis (1899), The walking troubles of progressive locomotion ataxy (1900) and Illnesses of the muscles (1901). All these short films have been preserved. The professor called his works "studies with the help of the cinematograph," and published the results, along with several consecutive frames, in issues of "La Semaine Médicale" magazine from Paris, between 1899 and 1902.[10] In 1924, Auguste Lumiere recognized the merits of Marinescu's science films: "I've seen your scientific reports about the usage of the cinematograph in studies of nervous illnesses, when I was still receiving "La Semaine Médicale," but back then I had other concerns, which left me no spare time to begin biological studies. I must say I forgot those works and I am thankful to you that you reminded them to me. Unfortunately, not many scientists have followed your way."[11][12][13]
Travelogue films were very popular in the early part of the 20th century. They were often referred to by distributors as "scenics." Scenics were among the most popular sort of films at the time.[14] An important early film to move beyond the concept of the scenic was In the Land of the Head Hunters (1914), which embraced primitivism and exoticism in a staged story presented as truthful re-enactments of the life of Native Americans this is not real any more.
Contemplation is a separate area. Pathé is the best-known global manufacturer of such films of the early 20th century. A vivid example is Moscow clad in snow (1909).
Early color motion picture processes such as Kinemacolor and Prizmacolor used travelogues to promote the new color process. In contrast, Technicolor concentrated primarily on getting their process adopted by Hollywood studios for fictional feature films.
Also during this period Frank Hurley's documentary film, South (1919), about the Imperial Trans-Antarctic Expedition was released. It documented the failed Antarctic expedition led by Ernest Shackleton in 1914.
With Robert J. Flaherty's Nanook of the North in 1922, documentary film embraced romanticism; Flaherty filmed a number of heavily staged romantic films during this time period, often showing how his subjects would have lived 100 years earlier and not how they lived right then. For instance, in Nanook of the North Flaherty did not allow his subjects to shoot a walrus with a nearby shotgun, but had them use a harpoon instead. Some of Flaherty's staging, such as building a roofless igloo for interior shots, was done to accommodate the filming technology of the time.
Paramount Pictures tried to repeat the success of Flaherty's Nanook and Moana with two romanticized documentaries, Grass (1925) and Chang (1927), both directed by Merian Cooper and Ernest Schoedsack.
The continental, or realist, tradition focused on humans within human-made environments, and included the so-called "city symphony" films such as Walter Ruttmann's Berlin, Symphony of a City (of which Grierson noted in an article[15] that Berlin represented what a documentary should not be), Alberto Cavalcanti's Rien que les heures, and Dziga Vertov's Man with the Movie Camera. These films tend to feature people as products of their environment, and lean towards the avant-garde.
Dziga Vertov was central to the Soviet Kino-Pravda (literally, "cinematic truth") newsreel series of the 1920s. Vertov believed the camera — with its varied lenses, shot-counter shot editing, time-lapse, ability to slow motion, stop motion and fast-motion — could render reality more accurately than the human eye, and made a film philosophy out of it.
The newsreel tradition is important in documentary film; newsreels were also sometimes staged but were usually re-enactments of events that had already happened, not attempts to steer events as they were in the process of happening. For instance, much of the battle footage from the early 20th century was staged; the cameramen would usually arrive on site after a major battle and re-enact scenes to film them.
The propagandist tradition consists of films made with the explicit purpose of persuading an audience of a point. One of the most notorious propaganda films is Leni Riefenstahl's film Triumph of the Will (1935), which chronicled the 1934 Nazi Party Congress and was commissioned by Adolf Hitler. Leftist filmmakers Joris Ivens and Henri Storck directed Borinage (1931) about the Belgian coal mining region. Luis Buñuel directed a "surrealist" documentary Las Hurdes (1933).
Pare Lorentz's The Plow That Broke the Plains (1936) and The River (1938) and Willard Van Dyke's The City (1939) are notable New Deal productions, each presenting complex combinations of social and ecological awareness, government propaganda, and leftist viewpoints. Frank Capra's Why We Fight (1942–1944) series was a newsreel series in the United States, commissioned by the government to convince the U.S. public that it was time to go to war. Constance Bennett and her husband Henri de la Falaise produced two feature length documentaries, Legong: Dance of the Virgins (1935) filmed in Bali, and Kilou the Killer Tiger (1936) filmed in Indochina.
In Canada the Film Board, set up by John Grierson, was created for the same propaganda reasons. It also created newsreels that were seen by their national governments as legitimate counter-propaganda to the psychological warfare of Nazi Germany (orchestrated by Joseph Goebbels). Today, the National Film Board of Canada National Film Board of Canada boasts a vast collection of online videos that are free to the public. The NFB has also taken the unprecedented step in making their videos easily and legally embeddable on other websites. Here is an example, a documentary on the Singer Leonard Cohen.
In Britain, a number of different filmmakers came together under John Grierson. They became known as the Documentary Film Movement. Grierson, Alberto Cavalcanti, Harry Watt, Basil Wright, and Humphrey Jennings amongst others succeeded in blending propaganda, information, and education with a more poetic aesthetic approach to documentary. Examples of their work include Drifters (John Grierson), Song of Ceylon (Basil Wright), Fires Were Started and A Diary for Timothy (Humphrey Jennings). Their work involved poets such as W. H. Auden, composers such as Benjamin Britten, and writers such as J. B. Priestley. Among the best known films of the movement are Night Mail and Coal Face.
Cinéma vérité (or the closely related direct cinema) was dependent on some technical advances in order to exist: light, quiet and reliable cameras, and portable sync sound.
Cinéma vérité and similar documentary traditions can thus be seen, in a broader perspective, as a reaction against studio-based film production constraints. Shooting on location, with smaller crews, would also happen in the French New Wave, the filmmakers taking advantage of advances in technology allowing smaller, handheld cameras and synchronized sound to film events on location as they unfolded.
Although the terms are sometimes used interchangeably, there are important differences between cinéma vérité (Jean Rouch) and the North American "Direct Cinema" (or more accurately "Cinéma direct"), pioneered by, among others, Canadians Allan King, Michel Brault and Pierre Perrault[citation needed], and Americans Robert Drew, Richard Leacock, Frederick Wiseman and Albert and David Maysles.
The directors of the movement take different viewpoints on their degree of involvement with their subjects. Kopple and Pennebaker, for instance, choose non-involvement (or at least no overt involvement), and Perrault, Rouch, Koenig, and Kroitor favor direct involvement or even provocation when they deem it necessary.
The films Primary and Crisis: Behind a Presidential Commitment (both produced by Robert Drew), Harlan County, USA (directed by Barbara Kopple), Dont Look Back (D. A. Pennebaker), Lonely Boy (Wolf Koenig and Roman Kroitor) are all frequently deemed cinéma vérité films.
The fundamentals of the style include following a person during a crisis with a moving, often handheld, camera to capture more personal reactions. There are no sit-down interviews, and the shooting ratio (the amount of film shot to the finished product) is very high, often reaching 80 to one. From there, editors find and sculpt the work into a film. The editors of the movement — such as Werner Nold, Charlotte Zwerin, Muffie Myers, Susan Froemke, and Ellen Hovde — are often overlooked, but their input to the films was so vital that they were often given co-director credits.
Famous cinéma vérité/direct cinema films include Les Raquetteurs,[16] Showman, Salesman, Near Death, The Children Were Watching, and Grey Gardens.
In the 1960s and 1970s, documentary film was often conceived as a political weapon against neocolonialism and capitalism in general, especially in Latin America, but also in a changing Quebec society. La Hora de los hornos (The Hour of the Furnaces, from 1968), directed by Octavio Getino and Fernando E. Solanas, influenced a whole generation of filmmakers. Among the many political documentaries produced in the early 1970s was "Chile: A Special Report," public television's first in-depth expository look of the September 1973 overthrow of the Salvador Allende government in Chile by military leaders under Augusto Pinochet, produced by documentarians Ari Martinez and José Garcia.
Box office analysts have noted that this film genre has become increasingly successful in theatrical release with films such as Fahrenheit 9/11, Super Size Me, Food, Inc., Earth, March of the Penguins, Religulous, and An Inconvenient Truth among the most prominent examples. Compared to dramatic narrative films, documentaries typically have far lower budgets which makes them attractive to film companies because even a limited theatrical release can be highly profitable.
The nature of documentary films has expanded in the past 20 years from the cinema verité style introduced in the 1960s in which the use of portable camera and sound equipment allowed an intimate relationship between filmmaker and subject. The line blurs between documentary and narrative and some works are very personal, such as the late Marlon Riggs's Tongues Untied (1989) and Black Is...Black Ain't (1995), which mix expressive, poetic, and rhetorical elements and stresses subjectivities rather than historical materials.[17]
Historical documentaries, such as the landmark 14-hour Eyes on the Prize: America's Civil Rights Years (1986 – Part 1 and 1989 – Part 2) by Henry Hampton, Four Little Girls (1997) by Spike Lee, and The Civil War by Ken Burns, UNESCO awarded independent film on slavery 500 Years Later, expressed not only a distinctive voice but also a perspective and point of views. Some films such as The Thin Blue Line by Errol Morris incorporated stylized re-enactments, and Michael Moore's Roger & Me placed far more interpretive control with the director. The commercial success of these documentaries may derive from this narrative shift in the documentary form, leading some critics to question whether such films can truly be called documentaries; critics sometimes refer to these works as "mondo films" or "docu-ganda."[18] However, directorial manipulation of documentary subjects has been noted since the work of Flaherty, and may be endemic to the form due to problematic ontological foundations.
Although documentaries are financially more viable with the increasing popularity of the genre and the advent of the DVD, funding for documentary film production remains elusive. Within the past decade the largest exhibition opportunities have emerged from within the broadcast market, making filmmakers beholden to the tastes and influences of the broadcasters who have become their largest funding source.[19]
Modern documentaries have some overlap with television forms, with the development of "reality television" that occasionally verges on the documentary but more often veers to the fictional or staged. The making-of documentary shows how a movie or a computer game was produced. Usually made for promotional purposes, it is closer to an advertisement than a classic documentary.
Modern lightweight digital video cameras and computer-based editing have greatly aided documentary makers, as has the dramatic drop in equipment prices. The first film to take full advantage of this change was Martin Kunert and Eric Manes' Voices of Iraq, where 150 DV cameras were sent to Iraq during the war and passed out to Iraqis to record themselves.
Films in the documentary form without words have been made. From 1982, the Qatsi trilogy and the similar Baraka could be described as visual tone poems, with music related to the images, but no spoken content. Koyaanisqatsi (part of the Qatsi trilogy) consists primarily of slow motion and time-lapse photography of cities and many natural landscapes across the United States. Baraka tries to capture the great pulse of humanity as it flocks and swarms in daily activity and religious ceremonies.
Bodysong was made in 2003 and won a British Independent Film Award for "Best British Documentary."
The 2004 film Genesis shows animal and plant life in states of expansion, decay, sex, and death, with some, but little, narration.
Docufiction is a hybrid genre from two basic ones, fiction film and documentary, practiced since the first documentary films were made.
Compilation films were pioneered in 1927 by Esfir Schub with The Fall of the Romanov Dynasty. More recent examples include Point of Order (1964), directed by Emile de Antonio about the McCarthy hearings and The Atomic Cafe which is made entirely out of found footage that various agencies of the U.S. government made about the safety of nuclear radiation (for example, telling troops at one point that it is safe to be irradiated as long as they keep their eyes and mouths shut). Similarly, The Last Cigarette combines the testimony of various tobacco company executives before the U.S. Congress with archival propaganda extolling the virtues of smoking.
Docuempathy films is a term created by the Indian documentary filmmaker and children's book writer Simran Kaler. Docuempathy films are films in which the director is the subject of the film. For example, if a director makes a film on labor issues and he has experienced them personally, then he should be able to "empathize" with the problem or issue in the documentary. Simran Kaler has made 34 documentary films; some of his docuempathies are Five Rivers Still Thirsty, Saade Hise Di Zindagi, In Search of Freedom, A Punjab within Punjab, On Rent, Early Hawkers, The Legend of Malerkotla, Punjab vs. Pesticide, and Wrestling in Punjab.
- ^ oed.com
- ^ Nichols, Bill. 'Foreword', in Barry Keith Grant and Jeannette Sloniowski (eds.) Documenting The Documentary: Close Readings of Documentary Film and Video. Detroit: Wayne State University Press, 1997
- ^ Ann Curthoys, Marilyn Lake Connected worlds: history in transnational perspective, Volume 2004 p.151. Australian National University Press
- ^ RE-THINKING GRIERSON: THE IDEOLOGY OF JOHN GRIERSON
- ^ Pare Lorentz Film Library – FDR and Film
- ^ Larry Ward (Fall 2008). Introduction. Lecture Notes for the BA in Radio-TV-Film (RTVF). 375: Documentary Film & Television. California State University, Fullerton (College of communications). p. 4, slide 12. http://www.commfaculty.fullerton.edu/lward/375/PDF375/375INTRO.pdf
- ^ University of Winchester Journalism Department – Feature Writing and Documentary Making
- ^ Journal of Film Preservation, nr. 70, November 2005.
- ^ Mircea Dumitrescu, O privire critică asupra filmului românesc, Brașov, 2005, ISBN 978-973-9153-93-5
- ^ Rîpeanu, Bujor T. Filmul documentar 1897–1948, Bucharest, 2008, ISBN 978-973-7839-40-4
- ^ Ţuţui, Marian, A short history of the Romanian films at the Romanian National Cinematographic Center. Archived April 11, 2008 at the Wayback Machine
- ^ The Works of Gheorghe Marinescu, 1967 report.
- ^ Excerpts of prof. dr. Marinescu's science films.[dead link]
- ^ Miriam Hansen, Babel and Babylon: Spectatorship in American Silent Film, 2005.
- ^ Grierson, John. 'First Principles of Documentary', in Kevin Macdonald & Mark Cousins (eds.) Imagining Reality: The Faber Book of Documentary. London: Faber and Faber, 1996
- ^ Les raquetteurs – NFB – Collection
- ^ Struggles for Representation African American Documentary Film and Video, edited by Phyllis R. Klotman and Janet K. Cutler,
- ^ Wood, Daniel B. (2 June 2006). "In 'docu-ganda' films, balance is not the objective". Christian Science Monitor. http://www.csmonitor.com/2006/0602/p01s02-ussc.html. Retrieved 2006-06-06.
- ^ indiewire.com, "Festivals: Post-Sundance 2001; Docs Still Face Financing and Distribution Challenges." February 8, 2001.[dead link]
- Aitken, Ian (ed.). Encyclopedia of the Documentary Film. New York: Routledge, 2005. ISBN 978-1-57958-445-0.
- Barnouw, Erik. Documentary: A History of the Non-Fiction Film, 2nd rev. ed. New York: Oxford University Press, 1993. ISBN 978-0-19-507898-5. Still a useful introduction.
- Ron Burnett. "Reflections on the Documentary Cinema"
- Burton, Julianne (ed.). The Social Documentary in Latin America. Pittsburgh, Penn.: University of Pittsburgh Press, 1990. ISBN 978-0-8229-3621-3.
- Dawson, Jonathan. "Dziga Vertov".
- Ellis, Jack C., and Betsy A. McLane. "A New History of Documentary Film." New York: Continuum International, 2005. ISBN 978-0-8264-1750-3, ISBN 978-0-8264-1751-0.
- Goldsmith, David A. The Documentary Makers: Interviews with 15 of the Best in the Business. Hove, East Sussex: RotoVision, 2003. ISBN 978-2-88046-730-2.
- Klotman, Phyllis R. and Culter, Janet K.(eds.). Struggles for Representation – African American Documentary Film and Video Bloomington and Indianapolis, IN: Indiana University Press, 1999. ISBN 978-0-253-21347-1.
- Leach, Jim, and Jeannette Sloniowski (eds.). Candid Eyes: Essays on Canadian Documentaries. Toronto; Buffalo: University of Toronto Press, 2003. ISBN 978-0-8020-4732-8, ISBN 978-0-8020-8299-2.
- Nichols, Bill. Introduction to Documentary, Bloomington, Ind.: Indiana University Press, 2001. ISBN 978-0-253-33954-6, ISBN 978-0-253-21469-0.
- Nichols, Bill. Representing Reality: Issues and Concepts in Documentary. Bloomington, Ind.: Indiana University Press, 1991. ISBN 978-0-253-34060-3, ISBN 978-0-253-20681-7.
- Nornes, Markus. Forest of Pressure: Ogawa Shinsuke and Postwar Japanese Documentary. Minneapolis: University of Minnesota Press, 2007. ISBN 978-0-8166-4907-5, ISBN 978-0-8166-4908-2.
- Nornes, Markus. Japanese Documentary Film: The Meiji Era through Hiroshima. Minneapolis: University of Minnesota Press, 2003. ISBN 978-0-8166-4045-4, ISBN 978-0-8166-4046-1.
- Rotha, Paul, Documentary diary; An Informal History of the British Documentary Film, 1928–1939. New York: Hill and Wang, 1973. ISBN 978-0-8090-3933-3.
- Saunders, Dave. Direct Cinema: Observational Documentary and the Politics of the Sixties. London: Wallflower Press, 2007. ISBN 978-1-905674-16-9, ISBN 978-1-905674-15-2.
- Saunders, Dave. Documentary: The Routledge Film Guidebook. London: Routledge, 2010.
- Tobias, Michael. The Search for Reality – the Art of Documentary Filmmaking. Studio City, CA: Michael Wiese Productions 1997. ISBN 0-941188-62-0
- Walker, Janet, and Diane Waldeman (eds.). Feminism and Documentary. Minneapolis: University of Minnesota Press, 1999. ISBN 978-0-8166-3006-6, ISBN 978-0-8166-3007-3.
- Wyver, John. The Moving Image: An International History of Film, Television & Radio. Oxford: Basil Blackwell Ltd. in association with the British Film Institute, 1989. ISBN 978-0-631-15529-4.
- Murdoch.edu, Documentary – reading list
- Emilie de Brigard, "The History of Ethnographic Film," in Principles of Visual Anthropology, ed. Paul Hockings. Berlin and New York: Mouton de Gruyter, 1995, pp. 13–43.
- Leslie Devereaux, "Cultures, Disciplines, Cinemas," in Fields of Vision. Essays in Film Studies, Visual Anthropology and Photography, ed. Leslie Devereaux & Roger Hillman. Berkeley: University of California Press, 1995, pp. 329–339.
- Faye Ginsburg, Lila Abu-Lughod and Brian Larkin (eds.), Media Worlds: Anthropology on New Terrain. Berkeley, CA: University of California Press, 2002. ISBN 978-0-520-23231-0.
- Anna Grimshaw, The Ethnographer’s Eye: Ways of Seeing in Modern Anthropology. Cambridge, UK: Cambridge University Press, 2001. ISBN 978-0-521-77310-2.
- Karl G. Heider, Ethnographic Film. Austin: University of Texas Press, 1994.
- Luc de Heusch, Cinéma et Sciences Sociales, Paris: UNESCO, 1962. Published in English as The Cinema and Social Science. A Survey of Ethnographic and Sociological Films. UNESCO, 1962.
- Fredric Jameson, Signatures of the Visible. New York & London: Routledge, 1990.
- Pierre-L. Jordan, Premier Contact-Premier Regard, Marseille: Musées de Marseille. Images en Manoeuvres Editions, 1992.
- André Leroi-Gourhan, "Cinéma et Sciences Humaines. Le Film Ethnologique Existe-t-il?," Revue de Géographie Humaine et d'Ethnologie 3 (1948), pp. 42–50.
- David MacDougall, Transcultural Cinema. Princeton, NJ: Princeton University Press, 1998. ISBN 978-0-691-01234-6.
- David MacDougall, "Whose Story Is It?," in Ethnographic Film Aesthetics and Narrative Traditions, ed. Peter I. Crawford and Jan K. Simonsen. Aarhus, Intervention Press, 1992, pp. 25–42.
- Fatimah Tobing Rony, The Third Eye: Race, Cinema and Ethnographic Spectacle. Durham, NC: Duke University Press, 1996. ISBN 978-0-8223-1840-8.
- Georges Sadoul, Histoire Générale du Cinéma. Vol. 1, L'Invention du Cinéma 1832–1897. Paris: Denöel, 1977, pp. 73–110.
- Pierre Sorlin, Sociologie du Cinéma, Paris: Aubier Montaigne, 1977, pp. 7–74.
- Charles Warren, "Introduction, with a Brief History of Nonfiction Film," in Beyond Document. Essays on Nonfiction Film, ed. Charles Warren. Hanover and London: Wesleyan University Press, 1996, pp. 1–22.
- Ismail Xavier, "Cinema: Revelação e Engano," in O Olhar, ed. Adauto Novaes. São Paulo: Companhia das Letras, 1993, pp. 367–384.
- Berkeley.edu, Documentary Classics – Videography of essential documentary films via UC Berkeley Media Resources Center
- Documentary.org, International Documentary Association
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