Documental

Una cámara réflex Bolex "H16" de resorte de 16 mm : una cámara popular para principiantes que se usa en las escuelas de cine

Una película documental o documental es una película de no ficción destinada a "documentar la realidad, principalmente con fines de instrucción,
educación o mantenimiento de un registro histórico ". [1] Bill Nichols ha caracterizado el documental en términos de "una práctica cinematográfica, una
tradición cinematográfica y un modo de recepción de la audiencia [que sigue siendo] una práctica sin límites claros". [2]

Los primeros documentales, originalmente llamados " reality films ", duraban un minuto o menos. Con el tiempo, los documentales han evolucionado
para volverse más largos e incluir más categorías; algunos ejemplos son: educativo , observacional y docuficción . Los documentales son
muy informativos y, a menudo, se utilizan en las escuelas como un recurso para enseñar varios principios . Los realizadores de documentales tienen
la responsabilidad de ser fieles a su visión del mundo sin tergiversar intencionalmente un tema.

Las plataformas de redes sociales (como YouTube ) han proporcionado una vía para el crecimiento del género del cine documental . Estas
plataformas han aumentado el área de distribución y la facilidad de acceso; mejorando así la capacidad de educar a un mayor volumen de
espectadores y ampliando el alcance de las personas que reciben esa información. [ cita requerida ]

Contenido

 1Definición

 2Historia
o 2.1Antes de 1900

o 2.21900-1920

o 2.31920

 2.3.1Romanticismo

 2.3.2ciudad-sinfonía

 2.3.3Kino-Pravda

 2.3.4Tradición de noticieros
o 2.41930-1940

o 2.51950-1970

 2.5.1Cinéma-vérité

 2.5.2Armas políticas
o 2.6Documentales modernos

 2.6.1Documentales sin palabras

 2.6.2Estilos de narración

 3Otras formas
o 3.1Documental híbrido

o 3.2docuficción

o 3.3ficción falsa
 o 3.4DVD documental

o 3.5Recopilación de películas

o 3.6De observación

o 3.7Tipos

o 3.8películas educativas

 4Traducción
o 4.1Las condiciones de trabajo

o 4.2Terminología

 5Ver también
o 5.1Algunos premios de cine documental

 6Fuentes y bibliografía
o 6.1película etnográfica

 7Referencias

Definición [ editar ]

La portada del libro de 1898 de Bolesław Matuszewski Une nouvelle source de l'histoire. (A New Source of History) , la primera publicación sobre la función documental de la cinematografía.

El escritor y cineasta polaco Bolesław Matuszewski fue uno de los que identificaron el modo del cine documental. Escribió dos de los primeros textos
sobre cine Une nouvelle source de l'histoire (ing. Una nueva fuente de historia) y La photographie animée (ing. Fotografía animada). Ambos fueron
publicados en 1898 en francés y entre los primeros trabajos escritos para considerar el valor histórico y documental de la película. [3] Matuszewski
también se encuentra entre los primeros cineastas en proponer la creación de un archivo cinematográfico para recopilar y mantener seguros los
materiales visuales. [4]

La palabra "documental" fue acuñada por el documentalista escocés John Grierson en su reseña de la película Moana (1926) de Robert Flaherty ,
publicada en el New York Sun el 8 de febrero de 1926, escrita por "The Moviegoer" (seudónimo de Grierson ). [5]

Los principios del documental de Grierson eran que el potencial del cine para observar la vida podía explotarse en una nueva forma de arte; que el
actor "original" y la escena "original" son mejores guías que sus contrapartes de ficción para interpretar el mundo moderno; y que los materiales "así
tomados de la materia prima" pueden ser más reales que el artículo actuado. En este sentido, la definición de documental de Grierson como
"tratamiento creativo de la actualidad" [6] ha ganado cierta aceptación, con esta posición en desacuerdo con la provocación del cineasta soviético Dziga
Vertov de presentar "la vida tal como es" (es decir, vida filmada subrepticiamente) y "vida cogida desprevenida" (vida provocada o sorprendida por la
cámara).

El crítico de cine estadounidense Pare Lorentz define una película documental como "una película fáctica que es dramática". [7] Otros afirman además
que un documental se destaca de los otros tipos de películas de no ficción por brindar una opinión y un mensaje específico, junto con los hechos que
presenta. [8]

La práctica documental es el complejo proceso de creación de proyectos documentales. Se refiere a lo que la gente hace con los dispositivos de los
medios, el contenido, la forma y las estrategias de producción para abordar los problemas y las elecciones creativas, éticas y conceptuales que
surgen al hacer documentales.
La realización de documentales se puede utilizar como una forma de periodismo, promoción o expresión personal.

Historia [ editar ]
Pre-1900 [ editar ]
Las primeras películas (anteriores a 1900) estaban dominadas por la novedad de mostrar un evento. Eran momentos de una sola toma capturados en
una película: un tren entrando en una estación, un barco atracando o trabajadores de una fábrica saliendo del trabajo. Estos cortometrajes se
denominaron películas de "actualidad"; el término "documental" no se acuñó hasta 1926. Muchas de las primeras películas, como las realizadas
por Auguste y Louis Lumière , tenían una duración de un minuto o menos, debido a limitaciones tecnológicas (ejemplo en YouTube).

Films showing many people (for example, leaving a factory) were often made for commercial reasons: the people being filmed were eager to see, for
payment, the film showing them. One notable film clocked in at over an hour and a half, The Corbett-Fitzsimmons Fight. Using pioneering film-looping
technology, Enoch J. Rector presented the entirety of a famous 1897 prize-fight on cinema screens across the United States.

In May 1896, Bolesław Matuszewski recorded on film a few surgical operations in Warsaw and Saint Petersburg hospitals. In 1898, French
surgeon Eugène-Louis Doyen invited Bolesław Matuszewski and Clément Maurice and proposed them to recorded his surgical operations. They
started in Paris a series of surgical films sometime before July 1898. [9] Until 1906, the year of his last film, Doyen recorded more than 60 operations.
Doyen said that his first films taught him how to correct professional errors he had been unaware of. For scientific purposes, after 1906, Doyen
combined 15 of his films into three compilations, two of which survive, the six-film series Extirpation des tumeurs encapsulées (1906), and the four-
film Les Opérations sur la cavité crânienne (1911). These and five other of Doyen's films survive. [10]

Frame from one of Gheorghe Marinescu's science films (1899).

Between July 1898 and 1901, the Romanian professor Gheorghe Marinescu made several science films in his neurology clinic in Bucharest:[11] Walking
Troubles of Organic Hemiplegy (1898), The Walking Troubles of Organic Paraplegies (1899), A Case of Hysteric Hemiplegy Healed Through
Hypnosis (1899), The Walking Troubles of Progressive Locomotion Ataxy (1900), and Illnesses of the Muscles (1901). All these short films have been
preserved. The professor called his works "studies with the help of the cinematograph," and published the results, along with several consecutive
frames, in issues of La Semaine Médicale magazine from Paris, between 1899 and 1902.[12] In 1924, Auguste Lumiere recognized the merits of
Marinescu's science films: "I've seen your scientific reports about the usage of the cinematograph in studies of nervous illnesses, when I was still
receiving La Semaine Médicale, but back then I had other concerns, which left me no spare time to begin biological studies. I must say I forgot those
works and I am thankful to you that you reminded them to me. Unfortunately, not many scientists have followed your way." [13][14][15]

1900–1920[edit]

Geoffrey Malins with an aeroscope camera during World War I.

Travelogue films were very popular in the early part of the 20th century. They were often referred to by distributors as "scenics." Scenics were among
the most popular sort of films at the time.[16] An important early film to move beyond the concept of the scenic was In the Land of the Head
Hunters (1914), which embraced primitivism and exoticism in a staged story presented as truthful re-enactments of the life of Native Americans.

Contemplation is a separate area. Pathé is the best-known global manufacturer of such films of the early 20th century. A vivid example is Moscow Clad
in Snow (1909).

Biographical documentaries appeared during this time, such as the feature Eminescu-Veronica-Creangă (1914) on the relationship between the
writers Mihai Eminescu, Veronica Micle and Ion Creangă (all deceased at the time of the production) released by the Bucharest chapter of Pathé.
Early color motion picture processes such as Kinemacolor—known for the feature With Our King and Queen Through India (1912)—and Prizmacolor—
known for Everywhere With Prizma (1919) and the five-reel feature Bali the Unknown (1921)—used travelogues to promote the new color processes.
In contrast, Technicolor concentrated primarily on getting their process adopted by Hollywood studios for fictional feature films.

Also during this period, Frank Hurley's feature documentary film, South (1919), about the Imperial Trans-Antarctic Expedition was released. The film
documented the failed Antarctic expedition led by Ernest Shackleton in 1914.

1920s[edit]

Romanticism [edit]

Nanook of the North poster.

With Robert J. Flaherty's Nanook of the North in 1922, documentary film embraced romanticism; Flaherty filmed a number of heavily staged romantic
films during this time period, often showing how his subjects would have lived 100 years earlier and not how they lived right then. For instance,
in Nanook of the North, Flaherty did not allow his subjects to shoot a walrus with a nearby shotgun, but had them use a harpoon instead. Some of
Flaherty's staging, such as building a roofless igloo for interior shots, was done to accommodate the filming technology of the time.

Paramount Pictures tried to repeat the success of Flaherty's Nanook and Moana with two romanticized documentaries, Grass (1925)

and Chang (1927), both directed by Merian Cooper and Ernest Schoedsack.

City-symphony [edit]
The city-symphony sub film genre were avant-garde films during the 1920s and 1930s. These films were particularly influenced by modern art;
namely Cubism, Constructivism, and Impressionism.[17] According to art historian and author Scott Macdonald,[18] city-symphony films can be described
as, "An intersection between documentary and avant-garde film: an avant-doc"; However, A.L. Rees suggests to see them as avant-garde films. [17]

Early titles produced within this genre include: Manhatta (New York; dir. Paul Strand, 1921); Rien que les heures/Nothing But The Hours (France;
dir. Alberto Cavalcanti, 1926); Twenty Four Dollar Island (dir. Robert J. Flaherty, 1927); Études sur Paris (dir. André Sauvage, 1928); The
Bridge (1928) and Rain (1929), both by Joris Ivens; São Paulo, Sinfonia da Metrópole (dir. Adalberto Kemeny, 1929), Berlin: Symphony of a
Metropolis (dir. Walter Ruttmann, 1927); and Man with a Movie Camera (dir. Dziga Vertov, 1929).

In this shot from Walter Ruttmann's Berlin, Symphony of a Great City (1927), cyclists race indoors. The film is shot and edited like a visual-poem.
A city-symphony film, as the name suggests, is most often based around a major metropolitan city area and seeks to capture the life, events and
activities of the city. It can be abstract cinematography (Walter Ruttman's Berlin) or may use Soviet montage theory (Dziga Vertov's, Man with a Movie
Camera); yet, most importantly, a city-symphony film is a form of cinepoetry being shot and edited in the style of a "symphony".

In this shot from Man with a Movie Camera, Mikhail Kaufman acts as a cameraman risking his life in search of the best shot

The continental tradition (See: Realism) focused on humans within human-made environments, and included the so-called "city-symphony" films such
as Walter Ruttmann's, Berlin, Symphony of a City (of which Grierson noted in an article[19] that Berlin, represented what a documentary should not be);
Alberto Cavalcanti's, Rien que les heures; and Dziga Vertov's Man with a Movie Camera. These films tend to feature people as products of their
environment, and lean towards the avant-garde.

Kino-Pravda [edit]
Dziga Vertov was central to the Soviet Kino-Pravda (literally, "cinematic truth") newsreel series of the 1920s. Vertov believed the camera—with its
varied lenses, shot-counter shot editing, time-lapse, ability to slow motion, stop motion and fast-motion—could render reality more accurately than the
human eye, and made a film philosophy out of it.

Newsreel tradition [edit]

The newsreel tradition is important in documentary film; newsreels were also sometimes staged but were usually re-enactments of events that had
already happened, not attempts to steer events as they were in the process of happening. For instance, much of the battle footage from the early 20th
century was staged; the cameramen would usually arrive on site after a major battle and re-enact scenes to film them.

1930s–1940s[edit]
The propagandist tradition consists of films made with the explicit purpose of persuading an audience of a point. One of the most celebrated and
controversial propaganda films is Leni Riefenstahl's film Triumph of the Will (1935), which chronicled the 1934 Nazi Party Congress and was
commissioned by Adolf Hitler. Leftist filmmakers Joris Ivens and Henri Storck directed Borinage (1931) about the Belgian coal mining region. Luis
Buñuel directed a "surrealist" documentary Las Hurdes (1933).

Pare Lorentz's The Plow That Broke the Plains (1936) and The River (1938) and Willard Van Dyke's The City (1939) are notable New
Deal productions, each presenting complex combinations of social and ecological awareness, government propaganda, and leftist viewpoints. Frank
Capra's Why We Fight (1942–1944) series was a newsreel series in the United States, commissioned by the government to convince the U.S. public
that it was time to go to war. Constance Bennett and her husband Henri de la Falaise produced two feature-length documentaries, Legong: Dance of
the Virgins (1935) filmed in Bali, and Kilou the Killer Tiger (1936) filmed in Indochina.

In Canada, the Film Board, set up by John Grierson, was created for the same propaganda reasons. It also created newsreels that were seen by their
national governments as legitimate counter-propaganda to the psychological warfare of Nazi Germany (orchestrated by Joseph Goebbels).

Conference of "World Union of documentary films" in 1948 Warsaw featured famous directors of the era: Basil Wright (on the left), Elmar Klos, Joris Ivens (2nd from the right), and Jerzy

Toeplitz.

In Britain, a number of different filmmakers came together under John Grierson. They became known as the Documentary Film Movement.
Grierson, Alberto Cavalcanti, Harry Watt, Basil Wright, and Humphrey Jennings amongst others succeeded in blending propaganda, information, and
education with a more poetic aesthetic approach to documentary. Examples of their work include Drifters (John Grierson), Song of Ceylon (Basil
Wright), Fires Were Started, and A Diary for Timothy (Humphrey Jennings). Their work involved poets such as W. H. Auden, composers such
as Benjamin Britten, and writers such as J. B. Priestley. Among the best known films of the movement are Night Mail and Coal Face.

Film Calling mr. Smith (1943) was anti-nazi color film[20][21][22] created by Stefan Themerson and being both documentary and avant-garde film against
war. It was one of the first anti-nazi films in history.

1950s–1970s[edit]
Lennart Meri (1929–2006), the second President of the Republic of Estonia, directed documentaries several years before his presidency. His film The Winds of the Milky Way won a silver

medal at the New York Film Festival in 1977.[23][24][25]

Cinéma-vérité [edit]
Cinéma vérité (or the closely related Direct Cinema) was dependent on some technical advances to exist: light, quiet and reliable cameras, and
portable sync sound.

Cinéma vérité and similar documentary traditions can thus be seen, in a broader perspective, as a reaction against studio-based film production
constraints. Shooting on location, with smaller crews, would also happen in the French New Wave, the filmmakers taking advantage of advances in
technology allowing smaller, handheld cameras and synchronized sound to film events on location as they unfolded.

Although the terms are sometimes used interchangeably, there are important differences between cinéma vérité (Jean Rouch) and the North American
"Direct Cinema" (or more accurately "Cinéma direct"), pioneered by, among others, Canadians Allan King, Michel Brault, and Pierre Perrault,[citation
needed]
 and Americans Robert Drew, Richard Leacock, Frederick Wiseman, and Albert and David Maysles.

The directors of the movement take different viewpoints on their degree of involvement with their subjects. Kopple and Pennebaker, for instance,
choose non-involvement (or at least no overt involvement), and Perrault, Rouch, Koenig, and Kroitor favor direct involvement or even provocation when
they deem it necessary.

The films Chronicle of a Summer (Jean Rouch), Dont Look Back (D. A. Pennebaker), Grey Gardens (Albert and David Maysles), Titicut
Follies (Frederick Wiseman), Primary and Crisis: Behind a Presidential Commitment (both produced by Robert Drew), Harlan County, USA (directed
by Barbara Kopple), Lonely Boy (Wolf Koenig and Roman Kroitor) are all frequently deemed cinéma vérité films.

The fundamentals of the style include following a person during a crisis with a moving, often handheld, camera to capture more personal reactions.
There are no sit-down interviews, and the shooting ratio (the amount of film shot to the finished product) is very high, often reaching 80 to one. From
there, editors find and sculpt the work into a film. The editors of the movement—such as Werner Nold, Charlotte Zwerin, Muffie Myers, Susan Froemke,
and Ellen Hovde—are often overlooked, but their input to the films was so vital that they were often given co-director credits.

Famous cinéma vérité/direct cinema films include Les Raquetteurs,[26] Showman, Salesman, Near Death, and The Children Were Watching.

Political weapons [edit]

In the 1960s and 1970s, documentary film was often conceived as a political weapon against neocolonialism and capitalism in general, especially in
Latin America, but also in a changing Quebec society. La Hora de los hornos (The Hour of the Furnaces, from 1968), directed by Octavio
Getino and Arnold Vincent Kudales Sr., influenced a whole generation of filmmakers. Among the many political documentaries produced in the early
1970s was "Chile: A Special Report," public television's first in-depth expository look of the September 1973 overthrow of the Salvador
Allende government in Chile by military leaders under Augusto Pinochet , producido por los documentalistas Ari Martínez y José García.

Un artículo del 28 de junio de 2020 de The New York Times habla sobre una película documental política 'And She Could Be Next', dirigida por Grace
Lee y Marjan Safinia. El documental no solo se centra en el papel de la mujer en la política, sino más específicamente en las mujeres de color, sus
comunidades y los cambios significativos que están provocando en la política estadounidense. [27]

Documentales modernos [ editar ]
Los analistas de taquilla han señalado que este género cinematográfico se ha vuelto cada vez más exitoso en el estreno en cines con películas
como Fahrenheit 9/11 , Super Size Me , Food, Inc. , Earth , March of the Penguins y An Inconvenient Truth entre los ejemplos más destacados . . En
comparación con las películas narrativas dramáticas, los documentales suelen tener presupuestos mucho más bajos, lo que los hace atractivos para
las compañías cinematográficas porque incluso un estreno en salas limitado puede ser muy rentable.

La naturaleza de las películas documentales se ha expandido en los últimos 20 años desde el estilo cinema verité introducido en la década de 1960
en el que el uso de cámaras portátiles y equipos de sonido permitían una relación íntima entre el cineasta y el sujeto. La línea entre el documental y la
narrativa se difumina y algunas obras son muy personales, como Tongues Untied (1989) de Marlon Riggs y Black Is ...Black Ain't (1995), que mezclan
elementos expresivos, poéticos y retóricos y enfatizan subjetividades más que materiales históricos. [28]

Documentales históricos, como el histórico Eyes on the Prize de 14 horas : Los años de los derechos civiles de Estados Unidos (1986—Parte 1 y
1989—Parte 2) de Henry Hampton, 4 Little Girls (1997) de Spike Lee y The Civil War de Ken Burns , película independiente premiada por la UNESCO
sobre la esclavitud 500 años después , expresó no solo una voz distintiva sino también una perspectiva y un punto de vista. Algunas películas
como The Thin Blue Line de Errol Morris incorporaron recreaciones estilizadas y Roger & Me de Michael Moore .puso mucho más control
interpretativo con el director. El éxito comercial de estos documentales puede derivar de este cambio narrativo en la forma documental, lo que lleva a
algunos críticos a cuestionar si tales películas realmente pueden llamarse documentales; los críticos a veces se refieren a estas obras como " mondo
films " o "docu-ganda". [29] Sin embargo, la manipulación de los sujetos documentales por parte de los directores se ha observado desde el trabajo de
Flaherty, y puede ser endémica de la forma debido a fundamentos ontológicos problemáticos.

Los realizadores de documentales utilizan cada vez más campañas de impacto social con sus películas. [30] Las campañas de impacto social buscan
aprovechar los proyectos de los medios convirtiendo la conciencia pública de los problemas y causas sociales en compromiso y acción, en gran
medida ofreciendo a la audiencia una forma de involucrarse. [31] Ejemplos de tales documentales incluyen Kony 2012 , Salam
Neighbor , Gasland , Living on One Dollar y Girl Rising .

Aunque los documentales son financieramente más viables con la creciente popularidad del género y la llegada del DVD, la financiación para la
producción de documentales sigue siendo difícil de alcanzar. En la última década, las mayores oportunidades de exhibición surgieron dentro del
mercado de la transmisión, lo que hizo que los cineastas se sintieran en deuda con los gustos y las influencias de las emisoras, que se han convertido
en su mayor fuente de financiación. [32]

Los documentales modernos tienen cierta superposición con las formas de televisión, con el desarrollo de la "televisión de realidad" que
ocasionalmente raya en el documental, pero más a menudo se desvía hacia la ficción o la puesta en escena. El documental "making-of" muestra
cómo se produjo una película o un juego de computadora . Generalmente realizado con fines promocionales, se parece más a un anuncio que a un
documental clásico.

Las cámaras de video digitales modernas y livianas y la edición basada en computadora han ayudado mucho a los realizadores de documentales, al
igual que la caída dramática en los precios de los equipos. La primera película que aprovechó al máximo este cambio fue Voices of Iraq
de Martin Kunert y Eric Manes , donde se enviaron 150 cámaras DV a Iraq durante la guerra y se entregaron a los iraquíes para que se grabaran.

[ editar ]
Documentales sin palabras 

Se han hecho películas en forma de documental sin palabras. Listen to Britain , dirigida por Humphrey Jennings y Stuart McAllister en 1942, es una
meditación sin palabras sobre la Gran Bretaña en tiempos de guerra. A partir de 1982, la trilogía Qatsi y el similar Baraka podrían describirse como
poemas tonales visuales, con música relacionada con las imágenes, pero sin contenido hablado. Koyaanisqatsi (parte de la trilogía Qatsi) consiste
principalmente en fotografías en cámara lenta y con lapso de tiempo de ciudades y muchos paisajes naturales en los Estados Unidos. Baraka trata de
capturar el gran pulso de la humanidad mientras se congrega y pulula en la actividad diaria y las ceremonias religiosas.

Bodysong se realizó en 2003 y ganó un premio de cine independiente británico al "Mejor documental británico".

La película Génesis de 2004 muestra la vida animal y vegetal en estados de expansión, descomposición, sexo y muerte, con alguna, pero poca,
narración.

[ editar ]
Estilos de narración 
Narrador de voz en off

El estilo tradicional de narración es que un narrador dedicado lea un guión que se dobla en la pista de audio. El narrador nunca aparece ante la
cámara y no necesariamente tiene conocimiento del tema o participación en la redacción del guión.

narración silenciosa

Este estilo de narración utiliza pantallas de título para narrar visualmente el documental. Las pantallas se mantienen durante aproximadamente 5 a 10
segundos para permitir que el espectador tenga tiempo suficiente para leerlas. Son similares a los que se muestran al final de las películas basadas
en historias reales, pero se muestran en todo momento, generalmente entre escenas.

narrador alojado

En este estilo, hay un presentador que aparece ante la cámara, realiza entrevistas y también hace doblajes.

Otras formas [ editar ]
Documental híbrido [ editar ]
El lanzamiento de The Act of Killing (2012) dirigido por Joshua Oppenheimer ha introducido posibilidades para formas emergentes del documental
híbrido. El cine documental tradicional generalmente elimina los signos de ficcionalización para distinguirse de los géneros cinematográficos de
ficción. Recientemente, las audiencias se han vuelto más desconfiadas de la producción de hechos tradicional de los medios, haciéndolas más
receptivas a las formas experimentales de contar los hechos. El documental híbrido implementa juegos de la verdad para desafiar la producción
tradicional de hechos. Aunque está basado en hechos, el documental híbrido no es explícito sobre lo que debe entenderse, creando un diálogo abierto
entre el sujeto y la audiencia. [33] The Arbor (2010) de Clio Barnard , Joshua OppenheimerThe Act of Killing (2012) de Mads Brügger , The
Ambassador de Mads Brügger y Bombay Beach (2011) de Alma Har'el son algunos ejemplos notables. [33]

Docuficción [ editar ]
La docuficción es un género híbrido a partir de dos básicos, el cine de ficción y el documental, practicado desde que se realizaron los primeros
documentales.

Falso-ficción [ editar ]
Ver también: Pseudo-documental § Película

La ficción falsa es un género que presenta deliberadamente hechos reales, sin guión, en forma de una película de ficción, haciéndolos aparecer como
escenificados. El concepto fue introducido [34] por Pierre Bismuth para describir su película de 2016 ¿Dónde está Rocky II?

Documental en DVD [ editar ]
Un documental en DVD es una película documental de duración indeterminada que ha sido producida con la única intención de lanzarla para su venta
directa al público en DVD(s), a diferencia de un documental que se hace y lanza primero en televisión o en una pantalla de cine. (también conocido
como estreno en cines ) y posteriormente en DVD para consumo público.
Esta forma de lanzamiento de documentales se está volviendo más popular y aceptada a medida que aumentan los costos y la dificultad para
encontrar espacios de estreno en televisión o salas de cine. También se usa comúnmente para documentales más "especializados", que pueden no
tener un interés general para una audiencia televisiva más amplia. Ejemplos son militares, artes culturales, transporte, deportes, etc.

Recopilación de películas [ editar ]
Las películas de compilación fueron iniciadas en 1927 por Esfir Schub con The Fall of the Romanov Dynasty . Los ejemplos más recientes
incluyen ¡Punto de orden! (1964), dirigida por Emile de Antonio sobre las audiencias de McCarthy. De manera similar, The Last Cigarette combina el
testimonio de varios ejecutivos de compañías tabacaleras ante el Congreso de los Estados Unidos con propaganda de archivo que exalta las virtudes
de fumar.

Poetic documentaries, which first appeared in the 1920s, were a sort of reaction against both the content and the rapidly crystallizing grammar of the
early fiction film. The poetic mode moved away from continuity editing and instead organized images of the material world by means of associations
and patterns, both in terms of time and space. Well-rounded characters—"lifelike people"—were absent; instead, people appeared in these films as
entities, just like any other, that are found in the material world. The films were fragmentary, impressionistic, lyrical. Their disruption of the coherence of
time and space—a coherence favored by the fiction films of the day—can also be seen as an element of the modernist counter-model of cinematic
narrative. The "real world"—Nichols calls it the "historical world"—was broken up into fragments and aesthetically reconstituted using film form.
Examples of this style include Joris Ivens' Rain (1928), which records a passing summer shower over Amsterdam; László Moholy-Nagy's Play of Light:
Black, White, Grey (1930), in which he films one of his own kinetic sculptures, emphasizing not the sculpture itself but the play of light around it; Oskar
Fischinger's abstract animated films; Francis Thompson's N.Y., N.Y. (1957), a city symphony film; and Chris Marker's Sans Soleil (1982).

Expository documentaries speak directly to the viewer, often in the form of an authoritative commentary employing voiceover or titles, proposing a
strong argument and point of view. These films are rhetorical, and try to persuade the viewer. (They may use a rich and sonorous male voice.) The
(voice-of-God) commentary often sounds "objective" and omniscient. Images are often not paramount; they exist to advance the argument. The
rhetoric insistently presses upon us to read the images in a certain fashion. Historical documentaries in this mode deliver an unproblematic and
"objective" account and interpretation of past events.

Examples: TV shows and films like Biography, America's Most Wanted, many science and nature documentaries, Ken Burns' The Civil
War (1990), Robert Hughes' The Shock of the New (1980), John Berger's Ways Of Seeing (1974), Frank Capra's wartime Why We Fight series,
and Pare Lorentz's The Plow That Broke The Plains (1936).

Observational[edit]

film team at Port of Dar es Salaam with two ferries

Observational documentaries attempt to simply and spontaneously observe lived life with a minimum of intervention. Filmmakers who worked in this
subgenre often saw the poetic mode as too abstract and the expository mode as too didactic. The first observational docs date back to the 1960s; the
technological developments which made them possible include mobile lightweight cameras and portable sound recording equipment for synchronized
sound. Often, this mode of film eschewed voice-over commentary, post-synchronized dialogue and music, or re-enactments. The films aimed for
immediacy, intimacy, and revelation of individual human character in ordinary life situations.

Types[edit]
Participatory documentaries believe that it is impossible for the act of filmmaking to not influence or alter the events being filmed. What these films
do is emulate the approach of the anthropologist: participant-observation. Not only is the filmmaker part of the film, we also get a sense of how
situations in the film are affected or altered by their presence. Nichols: "The filmmaker steps out from behind the cloak of voice-over commentary, steps
away from poetic meditation, steps down from a fly-on-the-wall perch, and becomes a social actor (almost) like any other. (Almost like any other
because the filmmaker retains the camera, and with it, a certain degree of potential power and control over events.)" The encounter between filmmaker
and subject becomes a critical element of the film. Rouch and Morin named the approach cinéma vérité, translating Dziga Vertov's kinopravda into
French; the "truth" refers to the truth of the encounter rather than some absolute truth.

Reflexive documentaries do not see themselves as a transparent window on the world; instead, they draw attention to their own constructedness,
and the fact that they are representations. How does the world get represented by documentary films? This question is central to this subgenre of films.
They prompt us to "question the authenticity of documentary in general." It is the most self-conscious of all the modes, and is highly skeptical of
"realism". It may use Brechtian alienation strategies to jar us, in order to "defamiliarize" what we are seeing and how we are seeing it.

Performative documentaries stress subjective experience and emotional response to the world. They are strongly personal, unconventional, perhaps
poetic and/or experimental, and might include hypothetical enactments of events designed to make us experience what it might be like for us to
possess a certain specific perspective on the world that is not our own, e.g. that of black, gay men in Marlon Riggs's Tongues Untied (1989) or Jenny
Livingston's Paris Is Burning (1991). This subgenre might also lend itself to certain groups (e.g. women, ethnic minorities, gays and lesbians, etc.) to
"speak about themselves". Often, a battery of techniques, many borrowed from fiction or avant-garde films, are used. Performative docs often link up
personal accounts or experiences with larger political or historical realities.

Educational films[edit]
Documentaries are shown in schools around the world in order to educate students. Used to introduce various topics to children, they are often used
with a school lesson or shown many times to reinforce an idea.

Translation[edit]
There are several challenges associated with translation of documentaries. The main two are working conditions and problems with terminology.

Working conditions[edit]
Documentary translators very often have to meet tight deadlines. Normally, the translator has between five and seven days to hand over the translation
of a 90-minute programme. Dubbing studios typically give translators a week to translate a documentary, but in order to earn a good salary, translators
have to deliver their translations in a much shorter period, usually when the studio decides to deliver the final programme to the client sooner or when
the broadcasting channel sets a tight deadline, e.g. on documentaries discussing the latest news. [35]

Another problem is the lack of postproduction script or the poor quality of the transcription. A correct transcription is essential for a translator to do their
work properly, however many times the script is not even given to the translator, which is a major impediment since documentaries are characterised
by "the abundance of terminological units and very specific proper names". [36] When the script is given to the translator, it is usually poorly transcribed or
outright incorrect making the translation unnecessarily difficult and demanding because all of the proper names and specific terminology have to be
correct in a documentary programme in order for it to be a reliable source of information, hence the translator has to check every term on their own.
Such mistakes in proper names are for instance: "Jungle Reinhard instead of Django Reinhart, Jorn Asten instead of Jane Austen, and Magnus Axle
instead of Aldous Huxley".[36]

Terminology[edit]
The process of translation of a documentary programme requires working with very specific, often scientific terminology. Documentary translators
usually are not specialist in a given field. Therefore, they are compelled to undertake extensive research whenever asked to make a translation of a
specific documentary programme in order to understand it correctly and deliver the final product free of mistakes and inaccuracies. Generally,
documentaries contain a large amount of specific terms, with which translators have to familiarise themselves on their own, for example:

The documentary Beetles, Record Breakers makes use of 15 different terms to refer to beetles in less than 30 minutes (longhorn beetle, cellar beetle,
stag beetle, burying beetle or gravediggers, sexton beetle, tiger beetle, bloody nose beetle, tortoise beetle, diving beetle, devil's coach horse, weevil,
click beetle, malachite beetle, oil beetle, cockchafer), apart from mentioning other animals such as horseshoe bats or meadow brown butterflies. [37]

This poses a real challenge for the translators because they have to render the meaning, i.e. find an equivalent, of a very specific, scientific term in the
target language and frequently the narrator uses a more general name instead of a specific term and the translator has to rely on the image presented
in the programme to understand which term is being discussed in order to transpose it in the target language accordingly. [38] Additionally, translators of
minorised languages often have to face another problem: some terms may not even exist in the target language. In such case, they have to create new
terminology or consult specialists to find proper solutions. Also, sometimes the official nomenclature differs from the terminology used by actual
specialists, which leaves the translator to decide between using the official vocabulary that can be found in the dictionary, or rather opting for
spontaneous expressions used by real experts in real life situations. [39]

See also[edit]

 Actuality film
 Animated documentary
 Citizen media
 Concert film
 Dance film
 Docudrama
 Documentary mode
 Documentary theatre
 Ethnofiction
 Ethnographic film
 Filmmaking
 List of documentary films
 List of documentary film festivals
 List of documentary television channels
 List of directors and producers of documentaries
 Mockumentary
 Mondo film
 Nature documentary
 Outline of film
 Participatory video
  Political cinema
 Public-access television
 Reality film
 Rockumentary
 Sponsored film
 Television documentary
 Travel documentary
 Visual anthropology
 Web documentary
 Women's cinema

Some documentary film awards[edit]

 Grierson Awards
 Academy Award for Best Documentary Feature
 Joris Ivens Award, International Documentary Film Festival Amsterdam (IDFA), (named after Joris
Ivens)
 Filmmaker Award, Margaret Mead Film Festival
 Grand Prize, Visions du Réel

Sources and bibliography[edit]

 Aitken, Ian (ed.). Encyclopedia of the Documentary Film. New York: Routledge, 2005. ISBN 978-1-57958-445-0.

 Barnouw, Erik. Documentary: A History of the Non-Fiction Film, 2nd rev. ed. New York: Oxford University Press, 1993. ISBN 978-
0-19-507898-5. Still a useful introduction.

 Ron Burnett. "Reflections on the Documentary Cinema"

 Burton, Julianne (ed.). The Social Documentary in Latin America. Pittsburgh, Penn.: University of Pittsburgh Press,
1990. ISBN 978-0-8229-3621-3.

 Dawson, Jonathan. "Dziga Vertov".

 Ellis, Jack C., and Betsy A. McLane. "A New History of Documentary Film." New York: Continuum International, 2005. ISBN 978-
0-8264-1750-3, ISBN 978-0-8264-1751-0.

 Goldsmith, David A. The Documentary Makers: Interviews with 15 of the Best in the Business. Hove, East Sussex: RotoVision,
2003. ISBN 978-2-88046-730-2.

 Gaycken, Oliver (2015). Devices of Curiosity: Early Cinema and Popular Science. ISBN 978-0-19-986070-8.

 Klotman, Phyllis R. and Culter, Janet K.(eds.). Struggles for Representation: African American Documentary Film and
Video Bloomington and Indianapolis, IN: Indiana University Press, 1999. ISBN 978-0-253-21347-1.

 Leach, Jim, and Jeannette Sloniowski (eds.). Candid Eyes: Essays on Canadian Documentaries. Toronto; Buffalo: University of
Toronto Press, 2003. ISBN 978-0-8020-4732-8, ISBN 978-0-8020-8299-2.

 Nichols, Bill. Introduction to Documentary, Bloomington, Ind.: Indiana University Press, 2001. ISBN 978-0-253-33954-

6, ISBN 978-0-253-21469-0.

 Nichols, Bill. Representing Reality: Issues and Concepts in Documentary. Bloomington, Ind.: Indiana University Press,
1991. ISBN 978-0-253-34060-3, ISBN 978-0-253-20681-7.

 Nornes, Markus. Forest of Pressure: Ogawa Shinsuke and Postwar Japanese Documentary. Minneapolis: University of Minnesota
Press, 2007. ISBN 978-0-8166-4907-5, ISBN 978-0-8166-4908-2.

 Nornes, Markus. Japanese Documentary Film: The Meiji Era through Hiroshima. Minneapolis: University of Minnesota Press,
2003. ISBN 978-0-8166-4045-4, ISBN 978-0-8166-4046-1.

 Rotha, Paul, Documentary diary; An Informal History of the British Documentary Film, 1928–1939. New York: Hill and Wang,
1973. ISBN 978-0-8090-3933-3.

 Saunders, Dave. Direct Cinema: Observational Documentary and the Politics of the Sixties. London: Wallflower Press,
2007. ISBN 978-1-905674-16-9, ISBN 978-1-905674-15-2.

 Saunders, Dave. Documentary: The Routledge Film Guidebook. London: Routledge, 2010.

 Tobias, Michael. The Search for Reality: The Art of Documentary Filmmaking. Studio City, CA: Michael Wiese Productions
1997. ISBN 0-941188-62-0

 Walker, Janet, and Diane Waldeman (eds.). Feminism and Documentary. Minneapolis: University of Minnesota Press,
1999. ISBN 978-0-8166-3006-6, ISBN 978-0-8166-3007-3.

 Wyver, John. The Moving Image: An International History of Film, Television & Radio. Oxford: Basil Blackwell Ltd. in association
with the British Film Institute, 1989. ISBN 978-0-631-15529-4.
  Murdoch.edu, Documentary—reading list

Ethnographic film[edit]

 Emilie de Brigard, "The History of Ethnographic Film," in Principles of Visual Anthropology, ed. Paul Hockings. Berlin and New
York City : Mouton de Gruyter, 1995, pp. 13–43.

 Leslie Devereaux, "Cultures, Disciplines, Cinemas," in Fields of Vision. Essays in Film Studies, Visual Anthropology and
Photography, ed. Leslie Devereaux & Roger Hillman. Berkeley: University of California Press, 1995, pp. 329–339.

 Faye Ginsburg, Lila Abu-Lughod and Brian Larkin (eds.), Media Worlds: Anthropology on New Terrain. Berkeley, CA: University of
California Press, 2002. ISBN 978-0-520-23231-0.

 Anna Grimshaw, The Ethnographer's Eye: Ways of Seeing in Modern Anthropology. Cambridge, UK: Cambridge University Press,
2001. ISBN 978-0-521-77310-2.

 Karl G. Heider, Ethnographic Film. Austin: University of Texas Press, 1994.

 Luc de Heusch, Cinéma et Sciences Sociales, Paris: UNESCO, 1962. Published in English as The Cinema and Social Science. A
Survey of Ethnographic and Sociological Films. UNESCO, 1962.

 Fredric Jameson, Signatures of the Visible. New York & London: Routledge, 1990.

 Pierre-L. Jordan, Premier Contact-Premier Regard, Marseille: Musées de Marseille. Images en Manoeuvres Editions, 1992.

 André Leroi-Gourhan, "Cinéma et Sciences Humaines. Le Film Ethnologique Existe-t-il?," Revue de Géographie Humaine et
d'Ethnologie 3 (1948), pp. 42–50.

 David MacDougall, Transcultural Cinema. Princeton, NJ: Princeton University Press, 1998. ISBN 978-0-691-01234-6.

 David MacDougall, "Whose Story Is It?," in Ethnographic Film Aesthetics and Narrative Traditions, ed. Peter I. Crawford and Jan
K. Simonsen. Aarhus, Intervention Press, 1992, pp. 25–42.

 Fatimah Tobing Rony, The Third Eye: Race, Cinema and Ethnographic Spectacle. Durham, NC: Duke University Press,
1996. ISBN 978-0-8223-1840-8.

 Georges Sadoul, Histoire Générale du Cinéma. Vol. 1, L'Invention du Cinéma 1832–1897. Paris: Denöel, 1977, pp. 73–110.

 Pierre Sorlin, Sociologie du Cinéma, Paris: Aubier Montaigne, 1977, pp. 7–74.

 Charles Warren, "Introduction, with a Brief History of Nonfiction Film," in Beyond Document. Essays on Nonfiction Film, ed.
Charles Warren. Hanover and London: Wesleyan University Press, 1996, pp. 1–22.

 Ismail Xavier, "Cinema: Revelação e Engano," in O Olhar, ed. Adauto Novaes. São Paulo: Companhia das Letras, 1993, pp. 367–
384.

References[edit]

Wikimedia

Commons has media

related

to Documentary

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