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This essay will delve into various aspects of the film Dark Days by way of relating them to the broader social, cultural and political contexts.
Firstly, homelessness in the United States can be traced back a long way. The direct and circumstancial evidence for this is available in literary and performing arts of the last one and half centuries. Prominent among the artists who dealt with this subject are Walt Whitman, Jack London, Charlie Chaplin, Woody Guthrie, John Dos Passos, Bill Mauldin, Jack Kerouac and John Steinbeck. In the early twentieth century slang, homeless people were casually referred to as hoboes, which is a term of denigration. These so-called hoboes had a reputation for being barbaric, wild, lazy and unscrupulous. The first detailed representation of these people living on the fringes of society started appearing after the end of the Civil War. We further learn that
“following the Civil War, a legion of men traveled the country with no visible means of support. Some earned the sobriquet "hobo," which they embraced it as a nickname for a migrant laborer, that is, a "hoe boy." Whatever the origin, sociologists of the 1920s used the phrase "hobohemia" to describe a subaltern lifestyle embraced by white working-class males. When congregating in places such as Chicagos "main stem," they forged a swaggering counterculture that defied domesticity. They embraced the labor radicalism of the Wobblies, even while they were parodied by vaudeville and motion picture comics.” (Lookingbill, 2005, p.314)
During these early days, homelessness in the United States was largely an issue of social class and was caused by the huge disparities in wealth distribution between the top ten percent of the population and the rest. But in the last century, the issue has grown to encompass factors of racial discrimination, drug abuse and homosexuality. Of the half a
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They are both non-fiction narratives of real situations or events that fundamentally reflect visual realism of events as they had occurred. While the basic motive of documentary and cinema verite is the same, they differ diametrically in the exposition of truth and mechanism of creation or development of the same.
According to the report documentary films were shot on the only available medium, film stock. Documentary storytelling has been, due to the new technologies, been described as a practice of filmmaking, a mode of audience reception and a cinematic tradition that emerges continuously with no clear boundaries.
Nichols (1997) stated that documentary works to identify a "filmmaking practice, a cinematic tradition, and mode of audience reception" that is continually evolving and is without clear boundaries. According to Bruzzi (2000) a documentary is treated as a representational mode of filmmaking.
The message may be true but it is conveyed in a more personal and biased way with an aim of changing people's way of understanding a situation. Realist aesthetic is involved in the dealing with the life of beauty, art, and taste and with the appreciation of magnificence.
Others engage highly stylistic forms of subjectivity intent on unapologetically pressing forward an agenda.
The National Socialist Party Congress of 1934 was filmed for a documentary by the infamous Nazi propagandist Leni Riefenstahl. This stunning example of political manipulation through the art of the cinema reveals in excruciatingly yet undeniably artistic fashion how the great Nazi rallies were prepared by utilizing a geometric formation that successfully and subtly succeeded in transforming what was in reality a rather nebulous mass of humanity into what appeared to be single-minded entity.
However, with time, the use of television and other forms of motion picture to educate people was enhanced and promoted throughout communities around the world.
One of the earliest views of documentaries was the concept of
The provided documentary film is noted to be directly reflecting on the needs of ‘nonfictional-motion-pictures’, which projected to documents some features of realism. The documentary is one of the most important reflections of historical records in film’s mode of conversion
19 Pages(4750 words)Movie Review
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