By Keith Beattie
Documentary productions surround awesome representations of bizarre realities. How do documentaries in achieving their ends? What kinds of documentaries are there? What elements are implicated of their construction? Such questions animate this enticing research. Documentary displays offers a finished and significant creation to the formal beneficial properties and histories of primary different types of documentary movie and tv. one of the different types tested are autobiographical, indigenous and ethnographic documentary, compilation movies, direct cinema and cinema verite and tv documentary journalism. The booklet additionally considers contemporary so-called well known real leisure and the way forward for documentary movie, tv and new media. This provocative and obtainable research situates wide-ranging examples from every one type in the higher fabric forces which influence on documentary shape and content material. the real connection among shape, content material, and context explored within the ebook constitutes a brand new and vigorous ''documentary studies'' method of documentary illustration.
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Additional resources for Documentary Screens: Non-Fiction Film and Television
What Grierson calls the documentary film’s ‘creative shapings’ of the profilmic world (a description that resembles his earlier and best-known description of documentary representation as the ‘creative treatment of actuality’1), also distinguishes documentary M EN WITH M OVIE C AMERAS 29 from the studio produced fictional film (Grierson, [1932–34] 1988: 83). 2 Documentaries capture the ‘spontaneous gesture’ and the unrehearsed actions of nonprofessional ‘actors’. For Grierson, documentary is capable of achieving ‘an intimacy of knowledge and effect impossible to the shim-sham mechanics of the [commercial film] studio’ (Grierson, [1932–34] 1988: 83).
Beyond the corporate sector another form of sponsorship, that of government public relations programmes (the form of sponsorship responsible for Drifters) was crucial to the expansion of the British documentary film movement under Grierson’s direction. Stuart Legg, one of Grierson’s early collaborators, reflected later in his career on the role of government sponsorship in the documentary movement by noting that the relationship between the filmmaker and the sponsor ‘is at the root of everything we’ve done for the last forty years’, admitting at the same time that the relationship was a problematic one (quoted in Winston, 1995: 58).
The catch of fish and eels, seen swimming in a net as it is hauled to the trawler, was filmed at the Plymouth Marine Biological Research Station. Indeed, reconstruction played a central role in Grierson’s conception of documentary. 8 Treatment, or dramatization or reconstruction – the practice referred to in ‘First Principles of Documentary’ ([1932–34] 1988: 83) as ‘the creative shapings … of natural material’ – was for Grierson, as his comments on Flaherty’s deployment of the practice reveal, a way of approaching ‘documentary proper’.
Documentary Screens: Non-Fiction Film and Television by Keith Beattie