conducted in April 2007 with over 26,486 Internet participants found “that the film, An Inconvenient Truth, had had a significant influence on those that have seen it - in their awareness of the issues and their stated changes in habits and behaviors.”(Nielsen, 2007: p.2) Additionally, the Channel 4 Britdoc Foundation released a case study including an impact guide: while it is impossible to obtain detailed data of how much the film affected the audience’s behaviour, the foundation revealed that there has
Cool is a PBS documentary highlighting how advertising agencies use the influence of media on teens in order to effectively market to this hard to reach genre. The teens are filmed in their daily lives and researchers get intimate by going deep into their world, analyzing everything possible, from personal desires, clothing preferences, relationships, and family and social interactions. The teens are interviewed in order to determine what it means to be “cool,” and then the film shows how advertisers
Alain Resnais’s documentary on the history of Nazi Germany’s death camps has garnered polarizing views from its viewers on its use of archival and present day footage. However, unlike many documentary films, we cannot “document” this particular reality. According to Resnais’ and Cayrol we can only “reflect, ask questions, examine this extremely unpleasant history, and formulate our own responses.” By choosing to compress such enormous subject matter into only a half an hour short film (looked at in
An eminent Soviet cinema theorist and director of avant-garde documentaries, Vertov established new cinematic horizons when he brought the notion of “truth values” to the practice of filmmaking. His vision for dynamic and chaotic industrial settings drove his cinematographic practice, and his work was guided by the underlying principle that viewers should view these images in their entirety. This conviction is best embodied with his film Man with a Movie Camera. Created in 1929, Man with a Movie Camera
Introduction I have chosen to analyse the opening credits of Michael Moores’ “Fahrenheit 9/11” (10:16 – 13:33). Although It might not have as much cinematic content as typical scenes, I find it the most powerful throughout the docu-film or any scene in the films available to analyse, as these shots were the precursor to the biggest conflict since Vietnam or even WWII. Afterall, cinema is supposed to tell a story, and hopefully invoke a feeling, which (to me anyway) this scene does. In this essay
Cowspiracy: The Sustainability Secret is a documentary directed by Kip Andersen and Keegan Kuhn and was released in 2014 by A.U.M. Films and First Spark Media (Cowspiracy: The Sustainability Secret). The documentary stars Kip Andersen as the narrator and many other people that Andersen interviewed. During the film, Andersen investigates the harm caused by animal agriculture and attempts to find the solution to these problems. A good documentary should be factual and informational, provide needed
the Iraq war, produced films that dramatized the field of war focusing on viewer’s emotions over the facts of war. Filmmakers of Fahrenheit 9/11, The Hurt Locker and the Valley of Elah used specific strategies in their story lines as well as many allegoric references in order to dissuade or persuade their audiences from supporting the war in Iraq. Throughout this time period, the United States military was very involved in the war in Iraq which made the influence of these films hit home even harder
considered to be a documentary. The spectrum of this category of film is finite, but the primary factor that contributes to making a documentary comes from capturing the lives of real people. Rather than imagining a narrative like fiction films, documentaries find real narratives, ones that come from the world everyone resides in. They can focus on current events, past ones, or both, any one can be formed to shape the narrative of a documentary. While a narrative is important to any piece of film, when it
North is known to be the first documentary film, the first ethnographic film and also the first art film. It was released on the 11th of June 1922. It was a silent film directed and produced by Robert J. Flaherty. The filming of this documentary started in August 1920 and ended a year after, August 1921. This documentary had a huge impact also because the director, Flaherty took his camera into spaces that nobody had thought of. He bought a new sense of style of film making that people still use till
Catfish V The Imposter: Documentary style Documentaries are created to challenge or endorse social and cultural values; this is done by the use of codes and conventions. Bart Layton, the director of The Imposter (2012) and the directors of Catfish (2010), Henry Joost and Ariel Schulman, effectively use codes and conventions to express these values. The Imposter (2012) and Catfish (2010) both look into the importance of wanting to belong and the false identities people will take on to feel as though