Documentary Film Practice: Thin Blue Line and Salesman - Movie Review Example

DOCUMENTARY FILM PRACTICE: “THIN BLUE LINE” AND “SALESMAN” al Affiliation Documentary Film Practice: “Thin Blue Line” And “Salesman” Introduction Documentaries are non-fiction motion pictures that are meant to record different aspects of nature and reality (Fox, 2010). However, the meaning can be comprehended in different approaches due to the broadness of the study. Most documentary films have been known to document a historical event with an aim of providing more information. Their foundation can be based in the early 1920s where the term was believed to have been coined one of the movie reviewers named John Grierson (Kochberg, 2002). Grierson’s meaning has been known to provide form and functionality in modern documentary films. Additionally, the creator can also define documentaries based on the variables such as the level of control. For instance, documentary producers have control only over specific variables. Most of the factors are observable in preparation, lighting, shooting, and make-up. Documentaries can be classified in the non-fictional genre of films (Kochberg, 2002). The producer of the film has full responsibility for the accuracy of different aspects that have been employed such as events, characters, and time. However, despite the presence of legal requirements for producers to take charge, some documentaries provide inaccurate and false factual assertions and descriptions. Subsequently, critics have attacked the notion of documentary films with the aim of providing the truth. Other categories can be based on periods, movements, and national cinemas. Periods include those documentary films that are provided by specific periods depending on their nature. Based on national cinemas, the films are classified by themes of productions. For example, Far from Poland and The Thin Blue Line were produced based on their production cinemas. Modes of Documentaries Despite the approaches in technology and filmmaking, the modes of documentaries have not had a great change. Bill Nichols publication has inspired the styles in most of his where he has highlighted different approaches. Salesman (1968 Albert M, David M& Charlotte Z) - Observation documentaries The documentary film takes place in different cities in the U.S including South East Florida and New England. It is a direct cinema motion film featuring four salesmen as they sell Bibles and attend a meeting in Chicago. Observation documentaries were founded in the 1950s due to enhancement in technology. They include the recording of social activities of individuals to expose various problems. The salesman can be classified as an observation documentary due to various aspects that have been employed in the film. The film takes place after there had been various technological changes in the film industry. Cinema verite is an approach to documentary filmmaking that includes the use of a camera to expose the truth of human activities, behavior, and reality (Nichols, 1991). The salesman has employed the feature whereby there is observation and monitoring of the characters as undertake their day-to-day activities. Consequently, the approach has offered the doings of the four men based on ‘where, ‘how and where they sold the expensive Bibles. The audience can deduct from the films happenings to understand more about different societies and the type of lifestyle. Fly on the wall is also a feature of observation documentaries that has been employed in ‘salesman’, which includes a situation where the cinematographer works inconspicuously and is hard to be spotted during the recording process. As a result, the approach makes it hard for the audience to notice the presence of microphones and cameras in the film. Portable and lightweight cameras and microphones were because of technological advancements in the 1950s (Saunders, 2010). Salesman has employed the technology in its recording cast whereby the portability makes it easier for the characters to move to different locations. The film presents a documentary of the daily lives of the four characters together with their interaction with customers. Notably, development of observation documentaries was due to the focus on the revelation of human character, intimacy, and other social behaviors. Consequently, its success was used to change the political structure through the recordings of institutional statuses. Salesman further employs non-interventionist styles as seen in other observational documentaries. Their characters are not controlled and there no permanent script to be followed during the recording process. The film shows behaviors and activities that are bound to change daily depending on the character. As a result, there is less control in the film from the creator and producers. The film invests in capturing reality; hence, lacks the need for voice-over commentary, background music, and enactments. Aspirations of objectivity are also present in the film whereby the characters are independent of their actions. Consequently, the audience has a non-fictional touch due to the reality levels in the film. Thin Blue Line (1988 Errol Morris) - Interactive Documentary Thin Blue Line is interactive American documentary film produced in 1988 (Bates, 2014). The plot portrays the story of Randall Dale Adams, who had faced conviction and sentenced to life for a murder charges. The interviews take place in different locations due to the individuals that were involved in the case. There were also re-enacted scenes that were based on witness accounts. Interactive documentaries include those that have a direct connection between the producer and the interviewee (Saunders, 2010). It originated from political activities that required questioning to gather more information. The Thin Blue Line can be categorized as an interactive film due to some of the concepts that it has employed. There direct engagement between the subject and the film crew. The film has incorporated various individuals to provide a wide range of information as provided by the court to help in the subjects release from prison. There camera crew visits different individuals that were involved in the shooting and witnesses that to recreate the situation as it had happened. As a result, interactive documentaries act as primary sources of information to the audience because they hear about it the first time while watching. The direct engagement occurs both behind the scenes and in the interrogations. Interviews are also identified in the film whereby the director has carefully phrased questions to prevent any legal issues. Testimonies and important documents are also used to present evidence in the film as most of the asked questions have legal backgrounds. Morris also asks straight forward questions that support the subjects plea since there was an alteration of documents. The use of archival footage a feature of interactive films and has been included in The Thin Blue Line. The footage is presented to provide the audience with a different comprehension of the original situation. The subject can also use the footage as a reference to what he/she is saying to provide precise information. The footage may also be used to reconstruct the original shooting experience. For instance, the film has used scenes from the surveillance tapes to offer a positive idea of the events and the expected repercussions. Interactive documentaries also account for the past events through experts and eyewitnesses (Piotrowska, 2013). The Thin Blue Line has used various experts in both legal and criminal fields to analyze tapes and information provided by all the subjects involved in the case. For example, there is a recollection of the judge presiding over the case, Adams testimony, and Harris. Other individuals involved in the recollection include the detectives, attorneys, and the prosecutor. Differences in other modes of documentaries Expository documentaries The expository documentaries have a direct influence and address the audience openly mostly using a translator (Piotrowska, 2013). There is the presence of an authoritative commentary that proposes a strong argument based on the point of view being discussed. These documentaries often persuade the audience using rhetorical styles. The films mostly employ the voice-of-God since the narrators speak with authority and due to the lack of improved technology in the 1930s. Objectivity and omniscience are enhanced to create a deeper connection between the audience and the narrator. A comparison with the interactive and observational documentaries shows the difference in the presence of the translator that helps in the comprehension of the topic of discussion. Additionally, expository documentaries use old technological approaches since there is less movement of the subjects, and the narrator simplifies most of the characters and topics for the audience. Poetic documentaries The poetic mode has a different technique of expressing its discussion whereby it employs the rhythmic, lyrical, and emotional features of the historical period (Nichols, 1993). The documentaries can be dated back in the 1920s when grammar and fiction were the available aspects in the film industry. The films entailed some of the scholars in the society that were lyrically well known. Poetic approaches can be used to transfer knowledge from social actors to the audience. The main difference of the between the approach with other documentaries is the number of subjects that are involved in the filming process. Poetic documentaries do not have a large number of characters. The poet is the main social actor that mostly uses personal knowledge without the help of external sources and witnesses. The mode has changed over time and has been incorporated into the observational documentaries due to changes in technologies and human perceptions. Reflexive Documentaries They have a representative method of providing information to the audience and mostly deal with historical discussions. The films have been known to challenge the impression of reality in various ways offering a representation of the world both in political and social aspects. Politically, they concentrate the filmmaker’s attention on the issues to the audience, leaving them with questions on reality. Socially, the documentaries provide knowledge on the connection between global trends that affected lifestyles. Performative documentaries They raise more questions about knowledge to the audience and contribute to personal experience of the characters. Experimental analysis and personal deductions help in the provision of information. Notably, the documentaries can have foundations in movements and groups that fight for social actions and individuals with minority rights. However, they do not have a large audience as compared to the other modes due to the concentration on personal experiences. Documentary Film Practice Research in the film industry shows a changing trend in the documentary film practices. Filmmakers and producers have engaged in filming documentaries that provide information in different categories of information. The knowledge ranges from geography to history to reality to socio-cultural and political among others. They have been known to provide critiques and expose conspiracy theories in different political and government structures. Notably, documentary stations have increased due to the enhanced demand for knowledge in the different fields. Learning institutions have also engaged in documentaries to provide a better and detailed education approach to the students. As a result, documentary movies have started exceeding the fictional films in the industry; hence, being presented in various box-offices globally. The documentary practice has also been used to provide awareness to audiences on global issues. For instance, the reconstruction of interactive documentaries provides the audience with ways of preventing future occurrences such as terrorists attacks. Additionally, there are other experiences such as economic downfalls and political predicaments. However, the documentary practices have also been criticized due to the increasing use of surveillance media. Most film producers have engaged in illegal practices such as bugging the apartments of subjects and tapping into their social life with the aim of gaining first-hand information. As a result, there have been changes in the policies regulating the documentary films. Conclusion The in-depth analysis of the two documentaries shows that their concept on documentaries has been changing with global variations. The film ‘The Thin Blue Line’ has triggered enlightenment in the criminal and justice department where individuals have gained knowledge in ways that can be used to fight for their rights (Grant and Hillier, 2009). The second film ‘Satisfied’ provided a foundation that has been used by modern producers to establish reality shows that have been used to provide a better comprehension of the society and different cultures. Despite having different modes, documentaries have a common basis that includes the defined monitoring, collection, and analysis of data used in the presentation of the findings to the audience. On the global scale, the access to new and advanced media has generated new documentary practices. Reference List Bates, P. (1989). Truth Not Guaranteed: An Interview with Errol Morri. Cineaste, 17(1), pp.16-17. Bates, P. (2014). The Thin Blue Line, Sight and Sound. 24(9), p.128. Bradshaw, N. (2014). Tall Truths," Sight and Sound. 24(9), pp.22-39. Fox, B. (2010). Documentary Media: History, Theory, Practice. London: Allyn & Bacon. Grant, B. and Hillier, J. (2009). 100 Documentary Films. London: Palgrave MacMillan. Izod, J. and Kilborn, R. (1998). The Documentary, in John Hill and Pamela Church Gibson. The Oxford Guide to Film Studies, pp.426-433. Kochberg, S. (2002). Introduction to documentary production. London: Wallflower. Nichols, B. (1991). Representing reality. Bloomington: Indiana University Press. Nichols, B. (1993). Issues and Concepts in Documentary. Representing Reality, pp.12-31. Piotrowska, A. (2013). Psychoanalysis and Ethics in Documentary Film. London: Routledge. Saunders, D. (2010). Documentary. London: Routledge. Read More