Critical reading reviews - Jonathan Farrow-White
How real is the Reality in Documentary Film
Yin/Yang Visual Theory
Charkes Forceville; Source-Path-Goal
John Grierson
Reality Bites: Documentary in the 21st Century
The theory is that you can manipulate the truth to make it become whatever the filmmaker desires. Weather this be though selective questions in documentary, editing in post-production or using an actor to pretend. The reality factor in documentary film is always questionable as most documentaries. However, this can also be found in many other areas of the blockbuster films, with the success of “found footage” films such as Paranormal Activity (2007) and The Blair Witch Project (1999) that both use documentary techniques to create fictional story for a horror narrative. My view is that this is the dirty side to filmmaking and personally do not be leave that it should be an element of film. However, it is a section of film production that I admit to applying in some of my own films due to creating a full control of the narrative and the feel of the media piece.
http://learn2.winchester.ac.uk/mod/resource/view.php?id=38269
http://chenoyceil.blogspot.co.uk/2012/01/how-real-is-reality-in-documentary.html
The Yin/Yang Theory works of the bases of juxtaposed, making the image stand out by showing the controversy against the norm. This allows the image to become black and white granting a deeper meaning it already possess. This encapsulates the four-point rule, this makes the viewers eyes lead around the frame. An example of where we have used this rule is the still of a passer by looking back at people dressed as ponies from My Little Pony allowing the viewer to see two different worlds.
http://learn2.winchester.ac.uk/mod/resource/view.php?id=38238
Forceville theory of ‘Source-Path-Goal’ allows us to get a better understanding of the concept of a journey. This theory can be loosely based to Todorov narrative theory of the 3 different elements to narrative; equilibrium, disequilibrium and reestablish equilibrium. This theory can be applied though all elements of media. However, in this case Forcevillie looks at in more detail of how people interact with their own personal journeys within the media text, and how curtain circumstances and events can change their point of view or outcomes on their own personal journeys. This allows us to look at real life aspects rather then a scripted or storyboarded text. However, I feel as if this is the best way to deliver a documentary, weather this be from the primaries point of view or the filmmakers. This is similar to my very own point of view on the My Little Pony fandom. My view was that the culture very odd and different way of life that I am used to. However, from my own experiences of interaction with Bronies, my point of view changed, almost as if I have become desensitized to their way of life and their interests.
http://learn2.winchester.ac.uk/mod/resource/view.php?id=98587
The Scottish film maker John Grierson was the major figure behind the movement of documentary and the development of the British Documentary Movement” in early day cinema in 1920. Due to restrictions on technology in the 1920’s ‘real’ events was often re-staged in TV studios. Due to television being a new media waveform in in the early 1920’s. For a short time, audiences accepted what they was watching was real. As time progressed, development in filming techniques increased rapidly, from such pioneers like the American Robert Flaherty and the agit-prop filmmakers in the Soviet Union. Although, these filmmakers recorded on location, on the other hand they had to “stage” certain events to record them effectively.
In contrast to modern day, technology has come over leaps and bounds over the last 100 years with now the introduction 4K technology and photographs shot in RAW. Plus making all this equipment light, easy to transport and the ability to film on the move. This created the observational mode enabling documentary filmmakers to observe its subject in a non-intrusive manor. This has sparked off a craze on modern day television with such programmes as Big Brother and Goggle Box. This can be applied to our own documentary to the point that we are moving high-quality camera equipment across the country, to make an observational documentary on the colourful world of My Little Pony fan base. We do not want to intrude on the primaries, as it will spoil the juxtaposition.
http://learn2.winchester.ac.uk/mod/resource/view.php?id=98583
According to Carly Sandy, documentaries have changed dramatically from the early days from the pioneers of documentary filmmakers like John Grierson in the 1930’s. Rather than focus on the focus on a strong public ethos, and had an emphasis on education and raising awareness, rather then focus on the entertainment values. This has sparked many debates saying that they are ‘dumbing down’ modern day documentaries though the over use of “sensationalism and voyeurism” to appeal to a wider demographic. However, they are starting to introduce narrowcasting, this enables to pin point a smaller demographics by knowing their interests and other types of progarmmes they may watch. On the other hand, this could be a downside to documentary film making due to the topic has to be precise to the audience other wise it will not generate enough ratings and revenue. Although, I believe in what Carly Sandy saying is true to a degree. However, I feel our documentary falls under the category of a stereotypical ‘dumbing down’ category. On the other hand, I feel as if we have not taken it down that route and we have taken a more serious approach to the topic. But, I feel if ITV or Channel 4 took the idea of a documentary on the subject of My Little Pony, that they would not deal with it in a serious light and may put a comical spin on the subject.
http://learn2.winchester.ac.uk/mod/resource/view.php?id=98588