The Film Experience Chapter 7
Representing the Real: Documentary Films
Terms in this set (30)
A nonfiction film that presents real objects, people, and events.
Early nonfiction films introduced in the 1890s depicting real people and events through continuous footage.
Early nonfiction films that offered exotic or remarkable images of nature or foreign lands.
A sound recording process that converts sound waves into electrical impulses that then control how a light beam is projected onto film. The process enables a soundtrack to be recorded alongside the image for simultaneous projection.
A French term literally meaning "cinema truth" a style of documentary filmmaking first practiced in the late 1950s and early 1960s that used unobtrusive, lightweight cameras and sound equipment to capture a real-life situation.
A documentary style originating in the US in the 1960s that aims to observe an unfolding situation as unobtrusively as possible;related to cinema verite.
A confrontational political documentary using low-cost video equipment.
The relationship between the overall amount or length of film shot and the amount used in the finished project.
Films presenting factual descriptions of actual events, persons, or places, rather than their fictional, or invented, re-creation.
Films organized in a variety of ways besides storytelling; they employ organizational forms such as associations, lists, repetitions, or contrasts.
Formal expositional strategies that show or describe experiences in a way that differs from narrative films.
Present a catalog of images or sounds throughout the course of the film.
Present a series of contrasts or oppositions meant to indicate the different points of view on its subject.
places, objects, individuals, or experiences are presented through a pattern that has a non-narrative logic or structure but still follows a logic of change or progression
Organizational points of view, that shape their formal practices according to certain perspectives and attitudes.
Announce or suggest that the film's driving perspective is a scientific search into particular social, psychological, or physical phenomena.
Interrogative or Analytical Positions
Rhetorically structure a movie in a way that identifies the subject as being under investigation.
Articulate a perspective that expresses a personal or social position using emotions or beliefs and aim to persuade views to feel and see in a certain way.
Reflexive and Performative Positions
Call attention to the filmmaking process or perspective of the filmmaker in determining or shaping the documentary material being presented.
Documentaries that examine and present both familiar and unfamiliar peoples and cultures in a social context, with an emphasis on authenticity and discovery in their representations.
Aimed to investigate and to celebrate the political activities of men and women as they appear within the struggles of small and large social spheres.
A type of film that concentrates largely on recovering and representing events or figures in history.
Conventional Documentary Histories
Assume the facts and realities of a past history can be more or less recovered and accurately represented.
Reflexive Documentary Histories
Adopt a dual point of view: alongside the work to describe an event is the awareness that film or other discourses and materials will never be able to fully retrieve the reality of that lost history.
Documentary films that record the practices, rituals, and people of a culture.
Explore different global cultures and peoples, both living and extinct.
Personal or Subjective Documentaries *
Documentary formats that emphasize the personal perspective or involvement of the filmmaker, often making the films resemble autobiographies or diaries.
Re-creating presumably real events within the context of a documentary.
A film that uses a documentary style and structure to present and stage fictional subjects.
A movie that looks at real charlatans and forgers while itself questioning the possibilities of documentary truth.