Development of Documentary
From travelogue to Documentary Tutorial
Non-fiction film history begins with the early development of the film. Continues from still photography and the study of movement as portrayed by Edward Muybridge to the widespread trend in the art to record 'reality, in the most accurate,' 'actual' or 'nature documentary'. Trend popularized by the Lumiere brothers in 1895, is part of the first non-fiction films. Some of the film was Workers Leaving the Lumière Factory and the arrivée d'un train en gare à la Ciotat, and is only an example of the daily events recorded by a static camera. The audience was amazed because it was the first time they saw the real events in the form of film. Similar short films made by Edison in the United States and the phenomenon quickly spread around the world, marked by the emergence of similar works from Spain, India and China.
Maybe, prime examples of which characterize the form documentary is a film that emerged after the Russian revolution of 1917 and especially the work of Dziga Vertov - editing a film called Kino-Pravda news (literally means 'Truth-Film') - and develop an approach that is used in a film called Kinoki ('eye-cinema'). Her task is a filmmaker revealed that in life nothing happens by chance, filmmakers are expected to capture the dialectical relationship between events are very opposite in reality; task is to uncover the conflict contained in the antagonistic forces of life and presents with clear 'cause and effect' of the phenomena of life. The use of the medium of film by Vertov very creative and he continually emphasized the importance of the art of filmmaking and reality terpolitisirnya successfully recorded. Conflicts between the displays 'aspects' records (ie the use of the camera is not unusual, complex editing, etc.) and 'content' shown to confuse the concept of film as documentation.
It is mainly related to further work and, most famously, The Man with the Movie Camera (1929). Directed cinéma-vérité, Richard Leacock, said the news of the film Vertov persuasive, although famine and disasters that seem superficially recorded. Vertovlah aesthetic sense that in mind Leacock so keep it out of pure spirit in the field of documentary shows life as it is.
Similar formalism appeared in what became known as the documentary City Symphony Rien que les covering heures (1926), directed by Alberto Cavalcanti, and Berlin, Symphony of a Great City (1927) Walter Ruttman's work. Both works are characterized by new techniques and surreal. Basically, the second film is an overview of each city, with a piece of real images from different locations to reveal the contradictions between rich and poor. Despite one of the demands of the formalist, both films managed to achieve success in the fishing public opinion, and influential in their success using the picture of the lives of everyday people, objects and location for the effects of political and symbolic.
In the U.S., non-fiction films initially form travelogue (a term invented by Burton Holmes), a piece of a picture taken in a foreign country and exhibited in the lecture and slide show to introduce the audience to the different cultures and exotic places.
In 1904, at the St. Louis Exposition, Tours and Scenes of the World made by George C. Hale worked quite well, but did not reach the same level with the film President Teddy Roosevelt safari trip to Africa or experience Robert Scott to the South Pole. Travel films (travelogue) the interest of the American public because the film showed adventurous spirit and courage of the Americans, supporting the view that the high consciousness of Americans is evident from the pioneering spirit and the survival of the 'border area'.
This view sustains the flow Romantic tradition of filmmaking, collage travelogue begins with the cowboys and Indians and attain the perfect realization in the film by Robert Flaherty. However, it should be mentioned specifically about Merian C. Cooper and Ernest Schoedsack made Grass (1925), a film about Iranian nomadic tribes seeking fresh pastures, and Chang (1927), which follows the experience of a Thai family in the forest, in which there are also scenes of various animal predators who seek prey on women and children. The film is very affecting movie Shoedsack Cooper and the most famous, King Kong (1933).
However, Robert Flaherty was the most giving form to the documentary form as an ethnographic tool (the scientific study of other races through direct observation and anthropological). Sponsored by the clothing made of animal fur, Revillon Freres, Flaherty made Nanook of the North (1922), a study of Inuit Eskimos in the Canadian north, known as one of the most influential films in the flow.
Perhaps the film is given all the clues we need to define both the documentary and the limits of acceptable. As revealed by Calder-Marshall Barsam and above, Flaherty's film is the films 'landing' with a specific purpose: a purpose which we may call not only to record the lives of the Eskimos, but also to remember and show the days of the life of the Eskimo more primitive, more 'real', in the past. The purpose of nostalgia is only used to memitologikan Eskimo life, and to some extent shifted from the context of 'real'; until once again questioned some inherent principle, which we assume is very important in determining the 'truth' documentary.
Flaherty intervened in the film material that is most problematic when evaluating the documentary Nanook as a major. Flaherty is not satisfied simply by recording events, and he wanted to 'dramatize' reality with aspects of film culture Eskimos he knew from previous trips to Hudson Bay between the years 1910-1916. For example, he wanted to film the Eskimos hunt and seals with a harpoon (harpoon: a kind of one-eyed spear used to catch large fish, used in modern times fired) traditionally, rather than recording the scene hunting with a rifle, tool time that they use everyday. Flaherty also built an igloo to adjust the camera equipment, and set some of the style of Eskimo life to be matched with technical uses shooting in these conditions. In Moana, Flaherty showing ritual tattooing the islanders Samoa, summon back a practice that has been years never again performed. While the Man of Aran (1935), shark hunters are also shown, but no longer characterize the existence of the Aran Islands at the time.
From travelogue to Documentary Tutorial
Non-fiction film history begins with the early development of the film. Continues from still photography and the study of movement as portrayed by Edward Muybridge to the widespread trend in the art to record 'reality, in the most accurate,' 'actual' or 'nature documentary'. Trend popularized by the Lumiere brothers in 1895, is part of the first non-fiction films. Some of the film was Workers Leaving the Lumière Factory and the arrivée d'un train en gare à la Ciotat, and is only an example of the daily events recorded by a static camera. The audience was amazed because it was the first time they saw the real events in the form of film. Similar short films made by Edison in the United States and the phenomenon quickly spread around the world, marked by the emergence of similar works from Spain, India and China.
Maybe, prime examples of which characterize the form documentary is a film that emerged after the Russian revolution of 1917 and especially the work of Dziga Vertov - editing a film called Kino-Pravda news (literally means 'Truth-Film') - and develop an approach that is used in a film called Kinoki ('eye-cinema'). Her task is a filmmaker revealed that in life nothing happens by chance, filmmakers are expected to capture the dialectical relationship between events are very opposite in reality; task is to uncover the conflict contained in the antagonistic forces of life and presents with clear 'cause and effect' of the phenomena of life. The use of the medium of film by Vertov very creative and he continually emphasized the importance of the art of filmmaking and reality terpolitisirnya successfully recorded. Conflicts between the displays 'aspects' records (ie the use of the camera is not unusual, complex editing, etc.) and 'content' shown to confuse the concept of film as documentation.
It is mainly related to further work and, most famously, The Man with the Movie Camera (1929). Directed cinéma-vérité, Richard Leacock, said the news of the film Vertov persuasive, although famine and disasters that seem superficially recorded. Vertovlah aesthetic sense that in mind Leacock so keep it out of pure spirit in the field of documentary shows life as it is.
Similar formalism appeared in what became known as the documentary City Symphony Rien que les covering heures (1926), directed by Alberto Cavalcanti, and Berlin, Symphony of a Great City (1927) Walter Ruttman's work. Both works are characterized by new techniques and surreal. Basically, the second film is an overview of each city, with a piece of real images from different locations to reveal the contradictions between rich and poor. Despite one of the demands of the formalist, both films managed to achieve success in the fishing public opinion, and influential in their success using the picture of the lives of everyday people, objects and location for the effects of political and symbolic.
In the U.S., non-fiction films initially form travelogue (a term invented by Burton Holmes), a piece of a picture taken in a foreign country and exhibited in the lecture and slide show to introduce the audience to the different cultures and exotic places.
In 1904, at the St. Louis Exposition, Tours and Scenes of the World made by George C. Hale worked quite well, but did not reach the same level with the film President Teddy Roosevelt safari trip to Africa or experience Robert Scott to the South Pole. Travel films (travelogue) the interest of the American public because the film showed adventurous spirit and courage of the Americans, supporting the view that the high consciousness of Americans is evident from the pioneering spirit and the survival of the 'border area'.
This view sustains the flow Romantic tradition of filmmaking, collage travelogue begins with the cowboys and Indians and attain the perfect realization in the film by Robert Flaherty. However, it should be mentioned specifically about Merian C. Cooper and Ernest Schoedsack made Grass (1925), a film about Iranian nomadic tribes seeking fresh pastures, and Chang (1927), which follows the experience of a Thai family in the forest, in which there are also scenes of various animal predators who seek prey on women and children. The film is very affecting movie Shoedsack Cooper and the most famous, King Kong (1933).
However, Robert Flaherty was the most giving form to the documentary form as an ethnographic tool (the scientific study of other races through direct observation and anthropological). Sponsored by the clothing made of animal fur, Revillon Freres, Flaherty made Nanook of the North (1922), a study of Inuit Eskimos in the Canadian north, known as one of the most influential films in the flow.
Perhaps the film is given all the clues we need to define both the documentary and the limits of acceptable. As revealed by Calder-Marshall Barsam and above, Flaherty's film is the films 'landing' with a specific purpose: a purpose which we may call not only to record the lives of the Eskimos, but also to remember and show the days of the life of the Eskimo more primitive, more 'real', in the past. The purpose of nostalgia is only used to memitologikan Eskimo life, and to some extent shifted from the context of 'real'; until once again questioned some inherent principle, which we assume is very important in determining the 'truth' documentary.
Flaherty intervened in the film material that is most problematic when evaluating the documentary Nanook as a major. Flaherty is not satisfied simply by recording events, and he wanted to 'dramatize' reality with aspects of film culture Eskimos he knew from previous trips to Hudson Bay between the years 1910-1916. For example, he wanted to film the Eskimos hunt and seals with a harpoon (harpoon: a kind of one-eyed spear used to catch large fish, used in modern times fired) traditionally, rather than recording the scene hunting with a rifle, tool time that they use everyday. Flaherty also built an igloo to adjust the camera equipment, and set some of the style of Eskimo life to be matched with technical uses shooting in these conditions. In Moana, Flaherty showing ritual tattooing the islanders Samoa, summon back a practice that has been years never again performed. While the Man of Aran (1935), shark hunters are also shown, but no longer characterize the existence of the Aran Islands at the time.
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