1. © 2011 Delmar, Cengage Learning Chapter 6: Recording and Presenting Reality

2. © 2011 Delmar, Cengage Learning Produce a short documentary. Analyze nonfiction media traditions and standard documentary methods. Evaluate major technical and ethical considerations of documentary filmmakers. Objectives

3. © 2011 Delmar, Cengage Learning –Fiction movies depict people, places, and events that are either imaginary or largely staged and portrayed for the camera by actors or other representational means. –Documentary or nonfiction motion pictures Cinematic equivalent to the nonfiction traditions of writing; includes a wide range of styles and formats. Material concerns true events and often consists of factually verifiable footage or editorial commentary. Nonfiction and Fiction Courtesy Universal/Dreamworks/Photofest

4. © 2011 Delmar, Cengage Learning –Early nonfiction films Lumière studios: taking the camera to the street Lectures, as in the tradition of magic lantern Travelogue films –Robert Flaherty and Nanook of the North Recording of lived experiences Commentary on true-life events and activities Role of subjects in the process Origins of Nonfiction Moviemaking Courtesy Pathé/Photofest

5. © 2011 Delmar, Cengage Learning –Material Real-life filmed events Archival footage Journalistic reportage Interviews Informative explanations Essay-like commentary –Authenticity Similar questions to nonfiction writers and journalists Depiction of subjects Staging of events Presentation of material and events Support of analyses Development of Documentary Traditions

6. © 2011 Delmar, Cengage Learning –Motion picture communication Storytelling and narrative techniques common in nonfiction Nonnarrative methods, such as in Dziga Vertov’s films –Use of nonfiction materials & methods in fiction Seabiscuit by Gary Ross JFK by Oliver Stone –Mockumentary Using camera techniques & production methods to depict fiction story in documentary style Blurred Lines in Formats and Techniques Courtesy Amkino Corporation/Photofest

7. © 2011 Delmar, Cengage Learning –Commentary –Appearance in the images Cinéma vérité traditions Journalistic practices –Interview techniques Integrated into the body of the motion picture Questioning removed from movie Roles of the Documentarian Courtesy Warner Bros./Photofest

8. © 2011 Delmar, Cengage Learning –Observational mode –Presentation of subjects through images –Characters of movie present themselves –Style and structure Camera choices Editing shapes the presentation of topic –Examples Frederick Wiseman; Nicolas Philibert Direct Cinema

9. © 2011 Delmar, Cengage Learning –Montage editing methods –Superimposition –Split screen –Digital compositing and layering –Animation –Time lapse and related time devices Stylistic Range of Techniques Courtesy Kaarina Cleverley Roberto

10. © 2011 Delmar, Cengage Learning –Time factors Motion picture format and funding parameters Subject matter and narrative or other structure –Funding Corporate backing Film studio Public sources –Grants & foundations Television outlets Key Considerations

11. © 2011 Delmar, Cengage Learning –Determining the topic Personal interest Historical, scientific, or other academic topic Journalistic or contemporary events –Outline –Sources of footage and actual images –Two-column script: when is it necessary? Preparing for the Subject

12. © 2011 Delmar, Cengage Learning Summary In Chapter 6, you have continued to explore motion picture forms by investigating the wide range of approaches seen in nonfiction movies. Typical sources of material or information include real-life events, archives, journalism, interviews, informative explanations, and essay-like commentary. You have studied similarities and contrasts between documentary and fiction techniques, and now you will have opportunities to develop skills in evaluating and using these methods.