As it is seen that documentaries are not so taken into account as feature films. In my thesis I tried to place a firm position for documentaries, as feature films are already a part of it. I made sure in my thesis that documentaries can also play a vital role in our lives. Documentaries are even a unique thing in every case, be it shooting, the process, the structure and the visuals. The most important fact about documentaries is the storyline.
The idea of connectedness, of history repeating itself, of scenes that play out over and over again, lies at the heart of Nostalgia de la luz. Although the film is personal in style, the viewer feels that Guzmán reaches outward (beyond the self) to make visible connections among history and human experience, to create awareness that, ideally, might form the basis for reconstituting broken communities. Of course, we don’t see anything in this film akin to the pueblo of Third Cinema, but what we do see are groups of people (the wives and mothers of the disappeared, young scientists, new generations, etcetera) seeking ways to mitigate human isolation and affirm a connectedness that, as all of Guzmán’s cinema shows, is abundantly lacking in our current sociopolitical moment. The Individual and the Collective All of Patricio Guzmán’s films post-La batalla de Chile reveal an interest in the collective, and this interest, as I have said, is perhaps most acutely felt in how Nostalgia de la luz probes the connectedness of people and temporalities—to the point at which temporalities, which were always markedly distinct in films like Chile: la
Reflexivity is a common device used in order to tell a story through modern day documentary filmmaking. Stories We Tell (Dir. Sarah Polley) is a formidable example of reflexive storytelling in a way that expresses itself well enough to hide the small details of fabrication that make the film tell such an intriguing story. Stories We Tell is a prime example of applying the narrators voice into the documentary because, for one, the material is a personal subject for Sarah Polley, but it lends a hand to telling the story in a way that speaks to the true meaning of the film which is slowly unraveled throughout the entire piece. Sarah Polley's Stories We Tell is unique in the way that for a documentary, the Filmmaker is much more than just one role in the film.
Scholars like Bill Nichols, Michael Chanan, and Jane Chapman argue that the filmmaker’s subjectivity inevitably corrupts any possibility for the attainment of objectivity and that no absolute truth or reality can be captured in documentary film; while scholars like Stephen Mamber and filmmakers who ascribed to the schools of cinema verite and direct cinema suggest that objectivity is attainable through filming real people in uncontrolled situations. “Documentary presents first-hand experience and fact by creating rhetoric of immediacy and ‘truth’, using technology, which involves the cameras. Part of the complications that surrounds the question of subjectivity and objectivity is rooted in the early claim that the camera does not lie”(Chapman, 2009) According to Nichols (2006), “documentary film is an art on expression and the documentarian’s concern is not to simply entertain but to win an audience’s assent.” Also, “due to the fact that there is an absence of fictionalized elements as one of documentary features, many people tend to believe that it brings us nearer to the truth.” (Chapman, 2009) Nonetheless, it is still essential for audiences to begin watching documentary with a critical eye as it could be just as carefully constructed and structured. ‘’Documentary is a fiction film like no other’’ (Nichols, 2001). Many factors can
In The Human Condition, Arendt asserts that what counts in politics is not the what but rather the who of people; while speaking and acting, one reveals one’s uniqueness. Cavarero underlines the materiality and vulnerability of such singular human uniqueness already commenced by Arendt. The core point of Relating Narratives is the ontology behind telling one’s life story, a story necessarily exposed to others. Life stories are always new and unique. They reveal a unique who beyond the what.
When looking deeper to analyse the mode of this documentary it can be difficult to define. It is a “fuzzy concept” (Nichols, 2010), as documentaries are always relational, comparative and culture specific. The documentary was shot following the expository mode, emphasizing visuals describing verbal commentary with addition of narration. The narration acts as an omnipresent, omniscient and objective voice overlaying footage, almost as a God like figure who is used to tell the viewers the information, bringing them through the world of the documentary from the start to very end. The expository mode is the most common mode of documentary and is the viewers’ most common association with the term of “documentaries”.
Conformity is gradually oppressing the world in which we live in. This ideal is prominently illustrated in the film Pleasantville which is directed, and produced by Gary Ross. Pleasantville is a great demonstration of the dangers of abiding by society’s expectations, and the freedoms that come with rebelling to these expectations and embracing change. Gary Ross uses several literary techniques such as; colour (symbolism), and character development to indicate the lack of creativity, and originality in society. Throughout the film, Ross illustrates how obstructive conformity can be to society, and how rewarding rebelling to societal norms can be for not only self growth, but societal advancement as well.
Many historians, philosophers and sociologists tried to come up with a good description before, but many would agree that history is clearly fundamental. Some would say it is a science, others that it is a ’poetic act’, but the fact that it is an „Unending dialogue between the present and the past.” is often seen as true. We should care about it because to understand the world we live in today we first need to comprehend that past and present go hand in hand. They both play their parts in this ’unending dialogue’, you can not have one without the other. So why should we care?
"Without being demeaning, it has given a huge amount of power to not very good photographers," says documentary photographer Paul Margolis.”Basically photography has become this thing that happens endlessly. Before when all there was , was film photography, you had to make sure you got the right picture, or else you would be wasting the film
Besides, history is very interesting subject. Many people like exploring and discovering new things. Studying history gives you an opportunity to explore activities that occurred in the past. By exploring, we find out what used to happen yet still not known to other people. History also like watching a blockbuster film entirely based on true events.