How the Relation of the Camera to the Real is Problematized in The Thin

How the Relation of the Camera to the Real is Problematized in The Thin bad Line and Yuki Yukite ShingunDocumentary films can include every type of talk of about the realworld. The accomplishments of nonfiction film are derived from more than the sterile edited interview segment, and recently have been a totality that is expedient as much for showing reality as it is for expressing the creative visions ofits director. It is thinkable for the most extrinsic implications to be presented in away that reflects idiosyncratic(a) systemics and personal expression. The innovationof a nonfiction work can let many techniques that were previouslyunused and will ultimately provide unconditioned new ways of exploring social andhistorical issues. The examination of these issues using contrasting visual stylesleads to the methodical questioning of the degree of truth that surrounds eachindividual style. For nonfiction cinema, the epistemological virtue exists withinthe relation back of wha t is filmed and what genuinely is real. In an inspection of The Thin savory Line and Yuki Yukite Shingun, the relation mingled with the camera and thereal is problematized by both films intentional reversal of presentational truths,the awareness of the camera, the staging or reenacting of real events withactors, and the addition of vivid or aural stylistic elements.The Thin Blue Line was directed by Errol Morris in 1988. It is the retellingof a story of two men that meet by chance in Dallas, one of whom later kills apolice officer. The facts are chronicled through a series of interview segmentsand supplemented by various reenactments, impinging visual images, and arepetitive, captivating musical accompaniment. The images presen... ...ing of real events with actors, and the addition ofgraphical or aural stylistic elements. As presented in The Thin Blue Line andYuki Yukite Shingun, these elements are important to the originality of theiroverall films and have the effect of proble matizing the relation between thecamera and what is real.Sources CitedBruzzi, Stella. hot Documentary A Critical Introduction. New York, NYRoutledge Publishing, 2000.MacDonald, Scott. A Critical Cinema 3 Interviews with Independent Filmmakers.Los Angeles, CA University of atomic number 20 Press, 1998.Plantinga, Carl R. Rhetoric and Representation in Nonfiction Film. Cambridge,UK Cambridge University Press, 1997.Renov, Michael. Theorizing Documentary. New York, NY Routledge Publishing,1993.Ruoff, Kenneth. Filming at the Margins The Documentaries of Hara Kazuo.Iconics 16 (Spring 1993) 115-126.