By Professor Louise Spence, Dr. Vinicius Navarro
A documentary's sounds and photographs are continually the manufactured from choice and selection, and infrequently underscore issues the filmmaker needs to make. Crafting Truth illuminates the methods those movies inform their tales; how they use the digital camera, enhancing, sound, and function; what rhetorical units they hire; and what the theoretical, functional, and moral implications of those offerings are. advanced documentary techniques are awarded via simply obtainable language, photographs, and a dialogue of a variety of motion pictures and video clips to inspire new methods of brooding about and seeing nonfiction film.
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Additional resources for Crafting Truth: Documentary Form and Meaning
In Silverlake Life, this assumption is encouraged by the artlessness of the shots through which Tom and Mark document their daily lives—the illusion of presence that seems to overwhelm our knowledge of the representational process. As the examples above suggest, however, some of the documentary’s most convincing shots are those in which we are aware of the shooting. Because the making of the video was part of Tom’s and Mark’s daily routines, we do not see the intervention of the camera as strange to their lives.
In practice, though, truth can be a more complex matter. Agreement with the facts presumes that the facts themselves preexist the making of the film and that they are somehow accessible to the documentarian. But neither assumption is entirely correct. Inference can play an important part in the way a documentary makes its claims about the historical world, especially when there is no available evidence to support those claims. And there are cases in which the events recorded by the camera simply do not exist prior to the making of the film.
He is exhausted after a visit to an herbalist and a few errands. His voice cracks; his anger is clear. 1. ” From Silverlake Life: The View from be helpful [and end up] getting screwed Here (Tom Joslin and Peter Friedman, 1993). time and time again. ” Both confiding in the camera— and thus in his audience—and performing his irritation and resentment, he then, in a melodramatic gesture, turns his face away. Since there is no one else around, we can justly claim that Tom is talking to us, letting us know how he feels and how he wants us to perceive his frustration.