Convincing positions articulate a perspective that expresses a personal or social position using emotions or beliefs and that aims to convince viewers to feel and see in a certain way. Reflective and performative positions draw attention to the film process or the perspective of the filmmaker to determine or shape the presented documentary material. This often means that attention must be drawn to making the documentary or the process of watching a film itself. The second aspect, goal / point of view / focus, is what the filmmakers are trying to say about the themes of their film. They register social and cultural phenomena that they consider important to inform us about these people, events, places, institutions and problems.
These can take the form of satirical documentary-style films made for entertainment purposes, or an ironic social commentary on a particular topic. This range of activities is designed to help develop what Common Basic Standards advocates call “close reading skills,” as they apply to the documentary. The activities use not only POV films, but also the extraordinary archive of POV interviews with many of the world’s most successful documentary makers. While different media vary in the way they present information, documentary films and written texts have more in common in some cases than you might think. The root of the documentary word identifies it as a record that aims to send objective information.
Documentaries, unlike normal feature films, should document real events that occur in real people in real situations. This makes it necessary for a documentary to have one or all of the following real people as actors, interviews with these actors, real images captured while the event is going on, and of course sometimes a voice in the story. Very often they stick to basic facts that the film offers without any meaning, whether or not intentionally. Of course there are a number of scripts, a story and some series rearrangements, but as Richard Dyer McCann says, a documentary guarantees the authenticity of the result, even if it is not the authenticity of the materials used for it. While it is true that documentaries and written texts can cover the same subject, they are not the same in every way.
Making documentaries, as well as receiving documentaries, has to do with ethics, politics and an aesthetic approach, and as such it is a very subjective or personal matter, now it is argued. One of the various documentary definitions offered by Raymond Spottiswoode in A Grammar of the Film, first published in 1935, seems to me to be one of the most appropriate; it certainly applies quite satisfactorily to documentaries from the 1930s. Instead of film methods, other documentaries have their definitions focused on the purposes, functions and effects of the documentary. Many people believe that documentaries are less reliable as a source of information than books because films are made for entertainment. By dramatizing historical events with images and sounds, the film does not change the subject?
The specific film must meet most of the criteria on the list, but it is difficult to say how much or which is the most important. Performative documentaries are an experimental combination of styles used to emphasize the subject’s experience and share an emotional response with the world. They often connect and place personal accounts in addition to greater political or historical problems. This is sometimes referred to as the “Michael Moore style” because it often uses its own personal stories as a way to build social truths . For him, editing was not the central creative act of cinematography for many filmmakers. In his silent films, Flaherty cut long-term recordings together to provide a continuous picture of essential action.
It is completely factual, although it can also express opinions about the facts it presents. A docudrama, on the other hand, although based on historical events and usually with fragments of facts, is primarily a dramatic story. It doesn’t have to be completely factual and it assumes a certain amount of dramatic license to change and / or invent events to enhance the appeal of the story.
The film making process is determined by transmigrating their performance in acting through the required role. Actors make their responsibilities based on the contracted relationship, giving the filmmaker the validity to object to the performance of the actors and the actors will be praised for their good performance and their performance will determine the value of the actor. Baddeley supported Nichols’ words that people should be encouraged to act naturally and not integrate artificiality into their behavior and act autonomously. However, he said that professional actors often have to participate to organize people’s natural image .
According to Nichols, “the reflective documentary in its most paradigmatic form leads the viewer to a greater awareness of his relationship with the text and of the problematic relationship of the text with what he represents.”. Likewise, Metz confirms ดูหนังออนไลน์ชัด that “the film tells us about itself or about cinema in general, or about the position of the viewer. And so this type of duplication is reflected in the text, which in all theories is without which we cannot imagine the narrative process.