An analysis of facts in historical documentaries movies and literature

historical context of film

But all that grows is not foreseen. For instance, much of the battle footage from the early 20th century was staged; the cameramen would usually arrive on site after a major battle and re-enact scenes to film them.

advantages of historical films

Poetic documentaries, which first appeared in the s, were a sort of reaction against both the content and the rapidly crystallizing grammar of the early fiction film. In poetry, detail is more or as important as the whole and the way a detail is presented stylized affects the content itself.

Social history films

What Richter is interested in therefore is not the formalist, rhythmical aspects of film, but the freedom of personal expression, which a lyric poem — free of having to tell a story — has. Lyric poetry originally as the name suggests was to be accompanied by music lyre. Yet, this is not the first time that the notion of poetry has been applied to a non-literary space. Being one of the first filmmakers in a long tradition that would later be known as the new American avant-garde, her writings were extremely influential and had a certain polemic tone. Germaine Dulac, Henri Chomette and Luis Delluc tried to establish the notion of pure cinema cinema-pur and found the poetic analogy useful to strengthen their position. Rees suggest to see them as avant-garde films. With the coming of the modernist era, most attempts to define poetry become unimportant if not impossible. A significant amount of his early published material was revised and republished in the 50s when the notion of the film poem regained importance in the American avant-garde film movement. This definition of the cine-period is extremely useful for the film poem, as it is by neglecting this exact notion of the period as continuity that film poets function. One of the most polemical supporters of the work of lyrical filmmakers was Jonas Mekas, the most consistent member of the New York Filmmakers Coop from the sixties until today. The first film to take full advantage of this change was Martin Kunert and Eric Manes ' Voices of Iraq , where DV cameras were sent to Iraq during the war and passed out to Iraqis to record themselves. The editors of the movement—such as Werner Nold , Charlotte Zwerin, Muffie Myers, Susan Froemke , and Ellen Hovde—are often overlooked, but their input to the films was so vital that they were often given co-director credits. Political weapons[ edit ] In the s and s, documentary film was often conceived as a political weapon against neocolonialism and capitalism in general, especially in Latin America , but also in a changing Quebec society.

It is not so much planning as it is feeling along the path which the theme takes. Sitney does not explain exactly what the relationship is — if any — between the type of film he describes and lyric poetry.

History of film

Dulac seems to use the notion of the poetic as an extension of the musical, the rhythmical, which is problematic in itself. The poetic mode moved away from continuity editing and instead organized images of the material world by means of associations and patterns, both in terms of time and space. Baraka tries to capture the great pulse of humanity as it flocks and swarms in daily activity and religious ceremonies. In Britain, a number of different filmmakers came together under John Grierson. Whereas Dulac, Ray, Richter and Vertov all talked about the poetic possibilities of film, they seemed to work relatively intuitively in their own practice. The notion that film is an inherently poetic medium is not useful for the purposes of this essay. The film is shot and edited like a visual-poem. Documentarist film poets such as Margaret Tait would certainly disagree with him. The voice-of-God commentary often sounds 'objective' and omniscient. For this reason, it is very difficult to examine how prophetic and revolutionary his writings were; yet, they remain extremely important for the study of the film poem today. In other words, the material you accumulate during the shooting is more or less raw material: though it has been planned to contribute to a specific scene or aim, it might, in the end assume a different meaning altogether.

Furthermore, Richter draws a parallel between the way poetry is written and a film poem is composed. The notion that film is an inherently poetic medium is not useful for the purposes of this essay.

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