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Tracing The Footprints Of Documentary Film Making
“In feature films, the director is God; in documentary films, God is the director.”
An art form that is over a hundred years old depicts the romanticism, surrealism and activism of the journey of life. Extreme naturalism is key; transcending the dilemmas of human existence, documentary films go beyond archetypal perception, unraveling the psychedelic mysteries of life, always giving a “voice to the voiceless”.
The art of documentary filmmaking has its roots in the pre-1900s when the French coined the term to describe any non-fiction film intended for informational purposes. Often referred to as “newsreels”, these would include very short filming sequences often lasting a minute or less. There was no form of conceptualization of an actual event or representation of consciousness in these creations, primarily due to the technological limitations of the time. Harishchandra Sakharam Bhatwadekar (Save Dada) who in 1899 filmed a wrestling match was probably the earliest traces of “news” films in the Indian film industry. He is also credited with making India’s first newsreel in 1901 filming the public reception of Raghjunath P. Paranjpye who had won a special honor in mathematics at Cambridge. Chitrapat Kaysa Taya Kartat (How Films Are Made) (1917) directed by Dadasaheb Phalke, the “father of Indian fiction film”, is another milestone in the genre of Indian “news” films.
Czech filmmaker and theorist Vit Janecek was one of the first to improvise the term “documentary film” to replace a “documentary film”, to dramatize the candid camera, to depict the discursive interests of a cultural field and social. The first such attempts were made by the Lumière Brothers who showed short press clippings of a train entering a station, workers leaving a factory, etc. Romanticism found its way into the first official documentary film, Robert Flaherty’s Nanook of the North (1922), a contemporary look at the life of Canadian Eskimo Inuit living in the Arctic. However, the term “documentary” was first used in a review by Flaherty (also called the “father of documentary film”) Moana in 1926. Over the years, with the availability of cheaper 16mm film and the rise of political movements in Russia and the UK, documentary films gradually became a means of reaching the masses. Films were projected on factory walls and screens set up in church halls in an attempt to raise awareness of unemployment, poverty and fascism. We thus witness the birth of “alternative news” in the 1930s, a generation of left-wing filmmakers motivated to move the people from apathy to activism. The “news” genre was also sometimes staged, re-enacting some of the actual events that occurred. Dziga Vertov’s Kino-Pravda (literally translated as “the truth of the film”) news series depicts everyday life of the bourgeois, trying to send a deeper message through a metaphorical montage of real recordings – often even at using hidden cameras. This creation inspired the birth of cinema vrai as another form of documentary, which used Vertov’s technique of juxtaposing scenes and non-intrusive filming techniques. This form of documentary film emphasizes maintaining the primitive form and authenticity of naturalism. John Grierson was the first documentary filmmaker and critic to coin the term “documentary” when writing a review for Flaherty’s Moana. He also extended the idea portrayed by Vertov, defining the art form as a “creative treatment of current events”. This decade also saw the birth of documentary cinema in India with the creative flair of Dr. PV Pathy, KS Hirlekar and DG Tendulkar.
Later in the 1930s and 1940s, documentary films became more propagandistic in nature, focusing on the marginalized and working majority of the depression and war years. This form of media has taken on a militant role in its efforts to understand reality and an ethical responsibility. Triumph of the Will (1934) was a masterpiece by Leni Riefenstahl, highly controversial and propagandistic in its horrifying portrayal of the Nazi Party Congress rally at Nuremberg. Despite the controversy surrounding the creation, in the field of cinematography, this creation has won laurels beyond criticism. The year 1940 was a milestone in Indian documentary filmmaking, in which the British government established the Film Advisory Board (FAB) to provide the infrastructure needed to boost the war propaganda effort. In 1943, Information Films of India (IFI) and Indian News Parade (INP) were established to expand and consolidate film production and distribution units. Between 1940 and 1946, the FAB and the IFI produced more than 170 films apart from the news of the INP. Unfortunately, in 1946, government subsidies to these institutions were drastically reduced and there was no official film unit to record Nehru’s “meeting with fate” speech on the first Independence Day of the United States. ‘India. Efforts were revived in 1948, through the formation of the Film Division, the Indian government’s official vehicle to promote the production and distribution of news and current affairs films. The documentaries were to be released under the banner of “Documentary Films of India”.
The 1960s and 1970s saw a theme of protest against neocolonialism. La Hora de los homos (1968), The Hour of the Furnaces, directed by Octavio Getino and Fernando E. Solanos, is a four-hour manifesto inciting a sense of revolution against imperialism and the disasters it has wrought in Argentina. In addition to depicting social and political issues, biographical, rock concert/music-related, and nature-related documentaries also found their way into the mainstream during these years. Filmic stylization and informative reporting in documentary films have reached new levels of success with the advent of high-tech digital photographic equipment. Baraka (1992), by director/cinematographer Ron Ficke, depicts “the essence of life”, transcending the limits of nature and time. Without a single spoken word in the film, it is often said to have delivered a “wordless message” with its scintillating visuals accompanied by immaculate musical scores.
Documentary filmmaking began for informational purposes, but evolved over the years to reflect the persuasive creative ambition of filmmakers. Along with the aesthetic tinges of romanticism and surrealism, the films became more diaristic, introspective and experimental. The childhood “topical” art form of yesteryear quickly became the energetic activist threatening to overthrow the hegemonic powers of oppression. The film genre extended far beyond the etymological meaning of the term and had been visualized as such in a futuristic article over seventy years old by one of its founding authors and theorists, John Grierson, as ” The documentary is a clumsy description, but let it rest.”
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