File Name: representing reality issues and concepts in documentary .zip
This paper proposes a definition of the new type of documentary so-called interactive documentary from three points of view: user, interactivity and documentary film. A proposed model is offered and an argument concerning the elements of the model is also discussed. This type of documentary has emerged as a result of the advanced technology and the transformation from Web1. The technological features have progressively activated the latent interactive aspects in the linear documentary such as two-way communication in the real time. Those features have also reformulated the relationship between the viewer, the author and the narrative.
There was a problem with your download, please contact the server administrator. Representing Reality is the first book to offer a conceptual overview of documentary filmmaking practice. It addresses numerous social issues and how they are presented to the viewer by means of style, rhetoric, and narrative technique. The volume poses questions about the relationship of the documentary tradition to power, the body, authority, knowledge, and our experience of history. This study advances the pioneering work of Nichols's earlier book, Ideology and the Image. Skip to content Home performing arts films, cinema film Representing Reality Share.
Skip to search form Skip to main content You are currently offline. Some features of the site may not work correctly. DOI: It addresses numerous social issues and how they are presented to the viewer by means of style, rhetoric, and narrative technique. The volume poses questions about the relationship of the documentary tradition to power, the body, authority, knowledge, and our experience of history.
Rethinking the convergence of doc After all, a commonsense approach may claim that documentary and entertainment are mutually exclusive, at least semantically. How, then, can a serious film form such as the documentary ever be considered entertaining? Another way to gauge the opposition between the two notions would be to consider their obvious social functions: while entertainment is thought to be a form of escapism, a necessary departure from the toils of the harsh world around us, a documentary precisely engages us with that same world. Entertainment would, thus, entail a form of political disempowerment, whereas documentaries would encourage, if not create, political commitment. Consequently, there has been a specific focus on the rhetoric of the documentary.
Film Quarterly 1 July ; 46 4 : 50— Sign In or Create an Account. User Tools. Sign In. Skip Nav Destination Article Navigation.
Sensorial thought: cinema, perspective and Anthropology 1.
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