Modern Galleries in London: a Documentary - Revision history

Vjmanzo at 09:36, 23 June 2017

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Sreyes at 23:16, 22 June 2017

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Jhdupuis at 11:46, 22 June 2017

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Jhdupuis: Jhdupuis moved page Gallery Documentary to Modern Galleries in London: a Documentary

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Jhdupuis moved page Gallery Documentary to Modern Galleries in London: a Documentary

Sreyes at 10:57, 22 June 2017

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 |data1= Book to provide concepts that characterize documentary film.
 }}
-The documentary film can be regarded as the first genre of the cinema.<ref> Aitken, I. (2006). Encyclopedia of the documentary film. New York: Routledge.(p. 22)</ref>  During the 1890s, when cinema began, most viewers saw films as examples of real life. Most early films were documentaries were often simple, single-shot affairs, showing newsworthy events, scenes from foreign lands, or everyday events. However, more fictional (or staged) actualities also began to be produced in these early years of the cinema.<ref>Ibid</ref> An example here might be the Lumiere brothers' ''Arroseur Arose'', which appeared as early as 1895. Perhaps one of the most well known early films is Georges Melies' Trip to the Moon (1902). Between 1895 and 1905 a number of identifiable genres of documentary film emerged, including tropical 'travelogues scenic', industrial sports films, trick' films fantasy' films, and films that used fictional reconstruction or staging in a variety of ways. These early genres of documentary film were quickly assimilated into existing modes of popular culture and entertainment and initially appeared in venues that used other, non-film forms of performance such as acrobatics, song, and dance. <ref> Aitken, I. (2006). Encyclopedia of the documentary film. New York: Routledge.(p. 28)</ref>
+A documentary film can be regarded as the first genre of the modern cinema.<ref> Aitken, I. (2006). Encyclopedia of the documentary film. New York: Routledge.(p. 22)</ref>  During the 1890s, when cinema began, most viewers saw films as examples of real life. Most early films were documentaries, often simple, single-shot affairs, showing newsworthy events, scenes from foreign lands, or everyday events. However, more fictional (or staged) actualities also began to be produced in these early years of the cinema,<ref>Ibid</ref> such as the Lumière brothers' ''L'Arroseur Arrosé'', which appeared as early as 1895. Perhaps one of the most well-known early films is Georges Melies' ''Trip to the Moon'' (1902). Between 1895 and 1905, a number of identifiable genres of documentary film emerged, including tropical 'travelogues scenic', industrial sports films, trick' films fantasy' films, and films that used fictional reconstruction or staging in a variety of ways. These early genres of documentary film were quickly assimilated into existing modes of popular culture and entertainment and initially appeared in venues that used other, non-film performances such as acrobatics, song, and dance. <ref> Aitken, I. (2006). Encyclopedia of the documentary film. New York: Routledge.(p. 28)</ref>
-Since the early 1900s, filmmakers have been capturing and telling the stories of real people, places, and events along side these fictional ones. The desire to learn or experience something new through the film was growing. In 1926, John Grierson, a Scottish filmmaker, and expert created the term Documentary, when reviewing the film ''Moana'', by American filmmaker Robert Flaherty.<ref>(2014). "Chronology of Documentary History." California: UC Berkeley Media Resource Center.</ref> John Grierson was inspired by the works of Flaherty and went on to create his own films in Scotland and Britain. He inevitably became in charge of the British Empire Marketing Board where he would oversee the production of thousands of films produced in the United Kingdom.<ref>Ibid</ref> In 1929 he developed his own film ''Drifters'', which would then be credited as the first British documentary, introducing the storytelling medium to the English.<ref>(2011). "Making History: Exhibition Guide, Section 1, Films: Defining Documentary" London, Tate Liverpool.</ref>
+Since the early 1900's, filmmakers have been capturing and telling the stories of real people, places, and events along side these fictional ones. The desire to learn or experience something new through the film was growing. In 1926, John Grierson, a Scottish filmmaker, and expert created the term Documentary, when reviewing the film ''Moana'' (1926), by American filmmaker Robert Flaherty.<ref>(2014). "Chronology of Documentary History." California: UC Berkeley Media Resource Center.</ref> John Grierson was inspired by the works of Flaherty and went on to create his own films in Scotland and Britain. He inevitably became in charge of the British Empire Marketing Board where he would oversee the production of thousands of films produced in the United Kingdom.<ref>Ibid</ref> In 1929, he developed his own film ''Drifters'', which would then be credited as the first British documentary, introducing the storytelling medium to the English.<ref>(2011). "Making History: Exhibition Guide, Section 1, Films: Defining Documentary" London, Tate Liverpool.</ref>
 While documentary film is a popular informative method of filmmaking, often the difficulty and work put in to create these films is overlooked by the audience. With the rise of smaller, high-quality cameras, and better editing capabilities, documentary is becoming even more widespread than ever and still is a popular field for award-winning productions to develop.
 <br>
 <br>
-Documentary film dates back to the last decades of the nineteenth century and has been practiced since then in every region of the world. Varying in style, technique, editing, story-telling, narration, and intent, it is a medium that records the cross-section of human experience, from monumental conflict to simple lives lived day to day. It documents the events, pressures, and institutions of modern society, records traditional cultural practices, cultural changes, and captures the natural and animal world in all their complexity. Diverse in form and subject matter, documentary film can have many missions as well, at times created to inform, intrigue, teach, enlighten, convert, outrage, accuse, and also to serve as propaganda. The internationally recognized authority on documentary and ethnographic film, Bill Nichols, provided a book that gave a comprehensive introduction to the issues and concepts that characterize documentary film and video production. This book provides a clear division of types of documentary defined by unique characteristics. We used this book to identify and explain the types of documentaries below.<ref>(2011) "Documentary Process" London, BFI Reuben Library.</ref>
+Documentary film dates back to the last decades of the nineteenth century and has been practiced since then in every region of the world. Varying in style, technique, editing, story-telling, narration, and intent, it is a medium that records the cross-section of human experience, from monumental conflict to simple lives lived day to day. It documents the events, pressures, and institutions of modern society, records traditional cultural practices, cultural changes, and captures the natural world in all their complexity. Diverse in form and subject matter, documentary film can have many missions as well; to inform, intrigue, teach, enlighten, convert, outrage, accuse, and also to serve as propaganda. The internationally recognized authority on documentary and ethnographic film, Bill Nichols, provided a book that gave a comprehensive introduction to the issues and concepts that characterize documentary film and video production. This book provides a clear division of types of documentary defined by unique characteristics. We used this book to identify and explain the types of documentaries below.<ref>(2011) "Documentary Process" London, BFI Reuben Library.</ref>
 <br><br>
 ==Types of Documentary==
-Every documentary has its own distinct voice. Like every speaking voice, every cinematic voice has a style or “grain” of its own that acts like a signature or fingerprint. It attests to the individuality of the filmmaker or director or, sometimes, to the determining power of a sponsor or controlling organization. Individual voices lend themselves to an auteur theory of cinema, while shared voices lend themselves to a genre theory of cinema. Genre study considers the qualities that characterize various groupings of filmmaker sand films.
+Every documentary has its own distinct voice. Like every speaking voice, every cinematic voice has a style or “grain” of its own that acts like a signature or fingerprint. It attests to the individuality of the filmmaker or director or, sometimes, to the determining power of a sponsor or controlling organization. Individual voices lend themselves to an auteur theory of cinema, while shared voices lend themselves to a genre theory of cinema. Genre study considers the qualities that characterize various groupings of filmmakers and films.
 <br><br>
-Based on the academic work of Dr Bill Nichols, they are basic ways of organizing all documentary film and video into six categories that function something like sub-genres (also called modes) of the documentary film genre itself: poetic, expository, participatory, observational, reflexive, performative.
+Based on the academic work of Dr. Bill Nichols, they are basic ways of organizing all documentary film and video into six categories that function something like sub-genres (also called modes) of the documentary film genre itself: poetic, expository, participatory, observational, reflexive, performative.
 Modes progress chronologically with the order of their appearance in practice, and documentary film often returns to themes and devices from previous modes. Therefore, it is inaccurate to think of modes as historical punctuation marks in an evolution towards an ultimate 'accepted' documentary style.
 Modes are not mutually exclusive - there is often significant overlapping between modes within individual documentary features and it is therefore difficult to find examples that adhere only to one mode.
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 To some extent, each mode of documentary representation arises in
 part through a growing sense of dissatisfaction among filmmakers with a
-previous mode. In this sense the modes do convey some sense of a documentary
+previous mode. In this sense, the modes do convey some sense of a documentary
-history.The observational mode of representation arose, in part,
+history. The observational mode of representation arose, in part,
 from the availability of smaller, mobile 16mm cameras and magnetic tape recorders
-in the 1960s. Poetic documentary suddenly seemed too abstract and expository
+in the 1960's. Poetic documentary suddenly seemed too abstract and expository
 documentary too didactic while it now is possible to film everyday
 events with minimal staging or intervention.
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 |label2 =
 |data2 = Tom French 2016 }}
-Poetic Mode emphasizes visual associations, tonal or rhythmic qualities, descriptive passages, and formal organization. It uses a unique, non-traditional technique to show the viewer the content of the video. Due to the fact that it uses completely nontraditional techniques, it can be considered as avant-garde filmmaking.<ref>Nichols, B. (2017). Introduction to documentary. Bloomington, IN: Indiana University Press. (p.p. 33)  </ref>
+Poetic Mode emphasizes visual associations, tonal or rhythmic qualities, descriptive passages, and formal organization. It uses a unique, non-traditional technique to show the viewer the content of the video. Due to the fact that it uses completely nontraditional techniques, it can be considered as Avant-Garde filmmaking.<ref>Nichols, B. (2017). Introduction to documentary. Bloomington, IN: Indiana University Press. (p.p. 33)  </ref>
 <br><br>
 This type of documentary does not follow the continuity and linearity of traditional documentaries and explores different patterns and closeups to show details of the film's subjects. As the poetic mode is more open to alternative forms, it makes it simple to address many types of protagonists. Protagonists vary from people to places. Different characteristics and attributions are presented with music, different angles, and the editing. Bill Nichols states that:  "Music is key because it develops the mood and tone of the story being told." <ref>Nichols, B. (2017). Introduction to documentary. Bloomington, IN: Indiana University Press. (p.p. 102-105) </ref> Because of its relying on the visuals and music to guide the tone, often these films do not contain a narrator or captions for the viewers- the person watching the documentary has to analyze and make their own interpretations of what is happening. It can be described as analyzing a visual poem.This protagonist can be "told" and interpreted in many different ways within this same style and because of this type of documentary is usually used for persuasion. <ref>Nichols, B. (2001). Introduction to documentary. Bloomington, IN: Indiana University Press. (p.p. 48, 88-91, 138) </ref>

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 =Abstract=
-Originally we set out to create individual projects that had overlapped: [[User:Jhdupuis|Jacob]] set out to create a documentary on the Serpentine Pavilion, while [[User:Sreyes|Sofia]] was looking at modern art in galleries, including Serpentine. Once we combined our project into a documentary about several galleries, we decided to focus our background on the history of documentary, using the vast resources available on cinema here in London. The background of the project outlines types of documentary films, with historical examples, and the process involved in making a documentary film come to be. For our creative piece, we shot and edited a short documentary using several of these styles and what we had learned. Our film showcases modern art galleries across the city of London.
+Our project summarizes the different types of documentary film and their origins, and looks at the fundamentals behind what goes into making a documentary film. The deliverable we created is a short poetic documentary. Originally we set out to create individual projects that had overlapped: [[User:Jhdupuis|Jacob]] set out to create a documentary on the Serpentine Pavilion, while [[User:Sreyes|Sofia]] was looking at modern art in galleries, including Serpentine. Once we combined our project into a documentary about several galleries, we decided to focus our background on the history of documentary, using the vast resources available on cinema here in London. The background of the project outlines types of documentary films, with historical examples, and the process involved in making a documentary film come to be. For our creative piece, we shot and edited a short documentary using several of these styles and what we had learned. Our film showcases modern art galleries across the city of London.
 <br><br>
 <br>

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 ===Reflexive Documentary===
 {{Infobox
 |title = Reflective
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 |caption = Surname Viet Given Name Nam
 |data2 = (Trinh T. Minh-ha, 1989) }}
 ====Examples====

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 ===Reflexive Documentary===
 ====Awareness of the process====
-<br>
+"If the historical world provides the meeting place for the processes of negotiation between filmmaker and subject in the participatory mode, the processes of negotiation between filmmaker and viewer become the focus of attention for the reflexive mode."<ref> Nichols, B. (2001). Introduction to documentary. Bloomington, IN: Indiana University Press. (p.p. 34, 125-130,138) </ref> In this documentary the filmmaker engages with the audience, asking for their opinions on a certain topic or interviewing them.  Instead of seeing the world beyond them, reflexive documentaries ask us to see the documentary for what it is: a construct or representation. Just as the observational mode of documentary depends on the filmmaker’s apparent absence from or non-intervention in the events recorded, the Reflexive documentary in general depends on the viewer’s neglect of his or her actual situation.The motto that a documentary film is only as good as its content is compelling is what the reflexive mode of documentary calls into question.Reflexive documentaries also address issues of realism. This is a style that seems to provide unproblematic access to the world. Through techniques or continuity editing, character development, and narrative structure it can relay messages of value. The reflexive mode is the makes you reflect on yourself and the topic the documentary is talking about.
-If the historical world provides the meeting place for the processes of negotiation between filmmaker and subject in the participatory mode, the processes of negotiation between filmmaker and viewer become the focus of attention for the reflexive mode. <ref> Nichols, B. (2001). Introduction to documentary. Bloomington, IN: Indiana University Press. (p.p. 34, 125-130,138) </ref> Rather than following the filmmaker in their engagement with other social actors, we now have filmmaker’s engaging with the audience, speaking not only about the historical world or subject material but about the problems and issues of representing it as well. Instead of seeing the world beyond them, reflexive documentaries ask us to see the documentary for what it is: a construct or representation. Just as the observational mode of documentary depends on the filmmaker’s apparent absence from or non-intervention in the events recorded, the Reflexive documentary in general depends on the viewer’s neglect of his or her actual situation.The motto that a documentary
+<ref>Nichols, B. (2001). Introduction to documentary. Bloomington, IN: Indiana University Press.</ref>
 <br><br>
 {{Infobox
@@ Line 118: / Line 117: @@
 |caption = Surname Viet Given Name Nam
 |data2 = (Trinh T. Minh-ha, 1989) }}
-Reflexive documentaries also address issues of realism. This is a style that seems to provide unproblematic access to the world. Through techniques or continuity editing, character development, and narrative structure it can relay messages of value. The reflexive mode is the most self-questioning mode of representation. Realist access to the world, the ability to provide persuasive evidence, the possibility of indisputable proof, the solemn bond between an image and what it represents—all these notions come under suspicion.<ref>Ibid</ref>
 ====Examples====
 *Reassemblage (Trinh Minh-ha,1982)

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 <br><br>
 ===Expository Documentary===
 {{Infobox
@@ Line 96: / Line 97: @@
 Expository Mode emphasizes verbal commentary and an argumentive logic.
 <ref> Nichols, B. (2001). Introduction to documentary. Bloomington, IN: Indiana University Press. (p.p. 33-34, 105-109,138,163) </ref>
-Expository documentaries are prominent in today’s documentary culture but began alongside the poetic documentary in the 1920s as an alternative to the often experimental films that were being produced. This mode assembles information into a more rhetorical or argumentative frame than an aesthetic or poetic one. Expository documentary looks at an argument and then walks the audience through that argument, providing evidence to support the claims and reasoning. Similarly, Expository films can introduce an audience to a point of view, and explain to them the reason behind that point of view, as nature based expository films often do. These films are typically narrated, providing information about what you are seeing unfold on the screen. The film that is considered often as the first feature-length documentary, "Nanook of the North" (1922) falls into the category of an expository film. ''Nanook of the North'' used footage that the filmmaker Robert Flaherty had shot, and then a voice over recorded later to tell the story. This typically is used to create documentaries on historical subjects, as it allows archived footage and photographs to be shown and explained. Nature documentaries by companies such as the BBC, and National Geographic heavily rely on this style, as they can collect footage and then create a story with it after the fact.<ref>Pick, A., & Narraway, G. (Eds.). (2013). Screening Nature: Cinema beyond the Human. Berghahn Books. Retrieved from http://www.jstor.org/stable/j.ctt9qczx4</ref>
+Expository documentaries are prominent in today’s documentary culture but began alongside the poetic documentary in the 1920s as an alternative to the often experimental films that were being produced. This mode assembles information into a more rhetorical or argumentative frame than an aesthetic or poetic one. Expository documentary looks at an argument and then walks the audience through that argument, providing evidence to support the claims and reasoning. Similarly, Expository films can introduce an audience to a point of view, and explain to them the reason behind that point of view, as nature based expository films often do. These films are typically narrated, providing information about what you are seeing unfold on the screen. "Nature documentaries by companies such as the BBC, and National Geographic heavily rely on this style, as they can collect footage and then create a story with it after the fact".<ref>Pick, A., & Narraway, G. (Eds.). (2013). Screening Nature: Cinema beyond the Human. Berghahn Books. Retrieved from http://www.jstor.org/stable/j.ctt9qczx4</ref>
 ====Examples====
 *''The Plow That Broke the Plains (1936)''

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 |bodystyle = width:25em
 |image = [[File:Documentary.PNG|x450px|alt=Sofia Reyes]]
-|caption = Surname Viet Given Name Nam (Trinh T. Minh-ha, 1989)
+|caption = Surname Viet Given Name Nam
-|label2 = location
+|data2 = (Trinh T. Minh-ha, 1989) }}
 Reflexive documentaries also address issues of realism. This is a style that seems to provide unproblematic access to the world. Through techniques or continuity editing, character development, and narrative structure it can relay messages of value. The reflexive mode is the most self-questioning mode of representation. Realist access to the world, the ability to provide persuasive evidence, the possibility of indisputable proof, the solemn bond between an image and what it represents—all these notions come under suspicion.<ref>Ibid</ref>
 ====Examples====