The means by which the subject is expressed. The form for poetry is words; for drama, it's speech and action; for movies, it's pictures. The form for films can include design elements, such as lighting, setting, props, costume, and make-up; sound, organized in a series of dialogue, music, ambience, and effects tracks; narrative, which establish, develop, and resolve character conflicts; and editing. an interest in or concern for the actual or real: a tendency to view or represent things as they really are. Although most will agree that the real world exist, some will disagree about the level on which it exists. While some trust in their senses, experiences, thoughts, and feeling, others rely on a variety of historical, political, sociological, economical, and philosophical theories to provide a framework for understanding. Realism in movies overrides these approaches and implies that the world it depicts looks, sounds, and move like the real world. It is a way of treating subject matter that reflects everyday life. Realistic people are expected to do things and conform to our experiences and the expectation of people. Realism involve mediation, so the filmmakers have to make choices about what aspects of reality to depict, and how to depict them. In the ways it is created and the ways it is perceived, realism is a kind of illusion. A convincing appearance of the truth. Movies are verisimilitude when they convince you that the things on the screen people, places, and etc., no matter how anti-realistic are "really there." In other words, the movie's vision seems internally inconsistent, giving you a sense that in the world onscreen, things could be just like that. Of course, you can be convinced by the physical verisimilitude of the world being depicted and still be unconvinced by the "unreality" of the characters, their portrayal by the actors, the physical or logical implausibility of the action, and so on. Movies can move seamlessly from one space to another (from a room to landscape to outer space), or make space move (as when the camera turns around or away from its subject, changing the physical, psychological, or emotional relationship between the viewer and the subject), or fragment time in various ways. Only movies can record time in its chronological passing as well as subjective versions of time passing—slow motion, or extreme compression of vast swaths of time. The movies give space to time and time to space. The key to manipulate space is the motion picture camera, especially its lens. The camera frames its image, for example, and can widen and foreshorten space. Through camera positioning, the lens can record a close up, removing from our view the surrounding visual context that we see in real life, no matter how close we get to an object. In short, the camera mediates between the exterior (the world) and the interior (our eyes and brain). Movies frequently rearrange time by organizing story events non chronological order in order to create new narrative meaning by juxtaposing events in ways linear chronological does not permit. For instance, it can present events from multiple perspectives and depict character memory. It can mean slightly different things being used in the three essential types of movies. It might be a type of movie, the story that a particular film tells, the particular system by which a fictional story is structured, or a concept describing the sequential organization of events presented in any kind of movies. Narrative is a story, and we use stories to understand and arrange our world and our lives. Narrative is a type of movies, devoted to conveying a story. It can be both works of pure fiction or a fictionalized version of actual events. Narrative is a way of structuring fictional or fictionalized stories presented in narrative films, which include exposition, rising action, climax, falling action, and denouncement. This structure helps filmmakers manipulate the viewer's cinematic experience by selectively conforming to or diverging from audience expectation of storytelling. Narrative is a broader concept that includes and goes beyond any of these applications. In a broad definition, its context is selected and arranged in a cause and effect sequence of events over time. However, movies do not have to arrange events in a conventional order in order to employ narrative organization. It can also be in a sequence motivated more by causality than chronology. It is more concern with the recording of reality, the education of viewers, or the presentation of political or social analysis. However, filmmakers employ storytelling and dramatization to some degree in shaping their material. No documentary subject that knows they are being filmed can ever behave as she would off camera. There are four basic approaches: factual, instructional, persuasive, and propaganda. Factual films usually present people, places, or processes, in straightforward ways meant to entertain and instruct without unduly influencing audiences. Instructional films seek to educate viewers about common interests, rather than persuading them to accept particular ideas. The founding purpose of persuasive films was to address social injustice, but today any documentary concerned with presenting a particular perspective on social issues or with corporate and governmental injustices of any kind is considered persuasive. When they are produced by governments and carry governments' messages, they overlap with propaganda films, which systematically disseminate deceptive or distorted information. Most documentary movies that we consider worthy of study today are hybrids that combine qualities of two or more of the categories. This versatility is one reason that they are enjoying a renaissance unprecedented in the history of cinema. Another type is direct cinema, which eschew interviewers and limit the use of narrators. It involve the placement of small portable cameras and sound recording equipment in an important location for days or weeks, recording events as they occur. While it can reveal a subject in a profound and unexpected way, it will hide or transfer the functions of the voice narrative and perspective to the more "invisible" power of other filmmaking system. The editing process can exclude certain material, ironically juxtapose people, events, and ideas, and arrange reality to suit the perspective of the filmmaker. It's the most difficult for precise definition, because the filmmakers seek to defy categorization and convention. It pushes the boundaries of what people think movies are,or should be. Avant-garde is the term originally applied to this. Avant-garde artists are innovators who lead the pack. Experimental films are not commercial. They are made with a low budget and few artists, with no expectations of financial gain. They are personal, reflecting the vision a single artist who conceives, writes, directs, and shoot the movie, with little contribution by others. They do not conform to conventional expectations of story and narrative cause and effect. They exploit the possibilities of cinema, and reveal tactile and mechanical qualities of motion pictures that conventional movies seeks to obscure. They critique culture and media. They invite individual interpretation, similar to abstract expressionist paintings. It is the categorization of narrative films by the stories they tell and the ways they tell them. There are numerous types and many others can fall into subgenre category. The film industry breaks down films according to the studio of origin, budget, target audience, and distribution patterns. Genre has a significant effect on how audiences choose the movies they view, and the people financing movies must account for genre when deciding which movies to bankroll. Genres offer familiar story formulas, conventions, themes, and conflicts, as well as immediately recognizable visual icons, all of which provide a blueprint for creating and marketing a type of film previously successful. Conventions, such as aspects of storytelling including recurring themes and situation, setting, character types, and story formulas, as well as aspects of presentation and visual style including décor, lighting, and sound, are the definition of genre.