Evolution of Documentary Cinema

Summary

Sources

en.wikipedia.org

At the heart of documentary filmmaking is the intention to present reality. These non-fictional motion pictures aim to document aspects of reality, often for the purposes of instruction, education, or maintaining a historical record. Originally, the term "documentary" wasn't even a whisper in the cinematic lexicon. Instead, these sorts of films were referred to as "actuality films," short moments of reality captured as they happened, each lasting only a minute or less due to technological constraints. Polish writer and filmmaker Bolesław Matuszewski was one of the earliest figures to recognize the potential of film as a medium to record history. It was Scottish filmmaker John Grierson who, in the twentieth century, coined the term "documentary," during a review of another significant work, Robert Flaherty's Moana. Grierson saw film as a unique way to observe life and document it, proposing that this form of art could be a creative treatment of actuality, setting the stage for documentary filmmaking as a significant and influential genre. Documentaries have the power to inform, educate, and open eyes to new perspectives and truths. Through the lens of a filmmaker's camera, viewers are invited to witness life from a different vantage point. Documentaries can serve as tools of social commentary, controversial arguments, and gripping tales—all rooted in the truthful representation of the filmmaker's vision of the world. The concept of a documentary film has evolved greatly since its inception. Social media platforms like YouTube have made these films more accessible than ever, expanding not only their reach but also the possibility for a broader spectatorship and impact. From acts of political advocacy to avenues of personal expression, documentary filmmaking encapsulates a wide array of ambitions and intents. The responsibility bestowed upon documentary filmmakers is not one to be taken lightly. It is their duty to present their vision of reality honestly and truthfully, without bias or manipulation. This creates a trust between the viewer and the filmmaker, a pact that the film will provide an authentic snapshot of life, however straightforward or complex that snapshot may be. As we explore the realm of documentary cinema, we recognize it as a medium that has not only chronicled our past but shapes the way we view our present and influences our understanding of the future. The origins of documentary film are as captivating as the stories they later came to portray. In the late 19th century, cinema was a novelty, with the Lumière brothers’ actuality films offering fleeting glimpses of everyday life, such as workers exiting a factory or a train arriving at a station. These short films, often no more than a few moments in duration, were not just formless recordings; they were the seeds of a genre that would later bloom fully with the work of Bolesław Matuszewski. Matuszewski, a Polish filmmaker, was a visionary in recognizing the potential of film as a valuable historical resource. He championed the notion that visual recordings served an invaluable function in documenting reality for posterity. His ideas laid the groundwork that would transform these early actualities into a cinematic genre dedicated to the pursuit of capturing life as it unfolded. Further shaping the documentary form was Scotsman John Grierson, who famously described documentary filmmaking as a "creative treatment of actuality." Grierson's interpretation implied the filmmaker's active role in selecting and presenting real-life events to provoke thought, impart knowledge, and engage the audience on a deeper level. In contrast to Grierson's perspective, Soviet filmmaker Dziga Vertov harbored a philosophy of presenting "life as it is"—raw and unfiltered by the filmmaker's influence. Vertov's approach involved capturing unobtrusive and candid moments of everyday existence, pushing the boundaries of how reality could be represented on film. Technological advancements were crucial in the evolution of documentary films. As camera equipment became more portable and film stock quality improved, it became possible to record events with greater clarity and precision. These technical strides allowed filmmakers to venture into the world, seeking out stories and phenomena beyond the confines of the studio. The genre began to expand with the production of travelogues that took audiences on voyages to distant lands and cultures, satisfying the human craving for exploration and discovery. Biographical films emerged, depicting the lives of significant figures and leaving enduring impressions of their legacies. These early documentaries were the building blocks of the genre, each new film providing a stepping stone to what documentary would become—an invaluable way to interpret and understand the complex world that spins around us. With each advancement and philosophical discourse, documentary film has grown to be not just a window into the past, but a mirror reflecting the myriad facets of human life. Documentary film, ever-evolving, has seen the introduction and development of numerous styles that have shaped its character and direction. The romanticism of Robert J. Flaherty in "Nanook of the North" exemplified an early departure from the mere presentation of reality, elevating documentaries to an artistic endeavor where reality was often presented with dramatic flourishes to captivate audiences. Flaherty's work, though staged at times, aimed to capture the dignity and nobility of his subjects, bringing forward a romanticized vision of cultures and livelihoods. City symphonies of the 1920s and 1930s then wove together urban life in a form that intersected documentary with avant-garde cinema. These films, such as "Berlin: Symphony of a Metropolis" by Walter Ruttmann and "Man with a Movie Camera" by Dziga Vertov, used innovative montage techniques to form a narrative from the hustle and bustle of city life, painting a portrait of the metropolis as a site of constant motion and vibrant activity. The poetic mode gave rise to documentaries focused on the aesthetic qualities of cinema, prioritizing mood, tone, and the filmmaker's subjective interpretation of the world. This style was less concerned with delivering a clear, linear narrative and more with evoking a sense of the material world through rhythm, composition, and lyrical imagery. In contrast, expository documentaries offered a more didactic approach. These films, equipped with a voice-of-authority narration, aimed to inform and often persuade, addressing the viewer directly with strong arguments and a clear point of view. They presented facts and information in a logical order, typically supported by a voiceover that strives to assume a position of objectivity and trustworthiness. Observational documentaries, on the other hand, introduced a fly-on-the-wall perspective, capturing life as it happened, without intervention or overt manipulation. Pioneered by filmmakers like Frederick Wiseman and the Maysles brothers, this style emphasized a direct engagement with the flow of everyday life, allowing events to unfold before the camera without the imposition of a narrative voice or structure. The advancement of technology, especially the advent of lightweight cameras and portable sound recording equipment, created fertile ground for movements like cinéma vérité and direct cinema. Both styles emphasized the truthful recording of events and eschewed the use of narration or re-enactments. The focus was on maintaining the authenticity of the captured footage and allowing the subject's own voice to emerge unhindered. Cinéma vérité, a term coined by Jean Rouch, advocated for a more participatory role of the filmmaker, who would engage with the subject matter to reveal deeper truths. Meanwhile, direct cinema sought an unobtrusive approach, capturing reality as honestly as possible, reflecting the complexities and nuances of situations and individuals. This period marked a significant shift in the art of documentary filmmaking—new technologies and visionary filmmakers brought fresh perspectives that expanded the possibilities of the genre. It set the stage for documentary to become a versatile tool for storytelling, education, and even activism, as it continued to adapt and respond to the changing world. Documentaries, with their grip on reality, quickly found their place as potent instruments for social commentary and political tools. This function of the medium has roots that reach deep into the history of filmmaking, becoming especially prominent as global tensions rose in the 20th century. One of the most infamous instances is Leni Riefenstahl’s “Triumph of the Will,” a film that serves as a chilling demonstration of documentary’s power as propaganda. Riefenstahl's work, by glorifying the 1934 Nazi Party Congress, illustrates how the documentary format can be leveraged to sway public opinion and foster a powerful ideological narrative. On the opposite end of the spectrum, Pare Lorentz’s “The Plow That Broke the Plains” utilized the documentary form for starkly different reasons. Funded by the United States government during the New Deal era, Lorentz's film intended to raise awareness about the devastation caused by the Dust Bowl and advocated for conservation and careful planning to avoid future ecological calamities. The newsreel tradition integrated documentary footage into the daily lives of the public. Before television, newsreels provided audiences with visual accounts of current events, though these brief films often contained a blend of factual reporting and ideologically driven content. They were powerful enough to shape public opinion and were sometimes used by authorities to reinforce national morale and manipulate public perception during times of war and peace. The impact of documentary on society was further magnified by the Documentary Film Movement in the United Kingdom, led by John Grierson. Grierson’s belief in film's potential for social change led to the production of several documentaries that addressed social issues, aiming to educate the public and advocate for social reform. The movement considered the documentary a crucial tool for bringing to light conditions that otherwise might be ignored or hidden from public scrutiny. Documentaries during this period were not just passive records of events but active participants in the discourse of their times, challenging societal norms, influencing policy, and often contributing to significant changes in public consciousness. Their ability to combine persuasive narrative with real-life footage made documentaries a dynamic and multifaceted forum for debate, education, and change, setting the stage for their continued evolution and relevance in social and political spheres. The landscape of documentary film has undergone a significant transformation in the modern era. No longer confined to educational purposes alone, contemporary documentaries have embraced a broader spectrum of storytelling techniques, often weaving in the personal narratives and distinct styles of their filmmakers. This shift has opened up new avenues for documentaries to connect with audiences on an emotional level, transforming them into compelling works of art and powerful platforms for change. The increased popularity of documentaries is also closely tied to their financial viability. Blockbusters of the genre, like "Fahrenheit 9/11" and "March of the Penguins," have demonstrated that documentaries can succeed at the box office, appealing to a wide audience and yielding substantial profits. This commercial success is not limited to theaters; the rise of streaming services has created new opportunities for documentaries to reach viewers globally, further cementing their place in mainstream media. Social impact campaigns have become a hallmark of the genre, turning viewership into action. By bridging the gap between awareness and activism, documentaries like "An Inconvenient Truth" and "Food, Inc." have inspired movements and prompted viewers to engage with the issues presented, often resulting in tangible social change. Another fascinating development is the emergence of documentaries without a traditional narrative structure or even without words at all, such as "Baraka" and "Koyaanisqatsi." These films rely on the power of imagery and music to convey their messages, challenging audiences to interpret meaning through the lens of visceral experience. However, like any evolving form of art, documentary filmmaking faces its own set of challenges. Securing funding remains a primary concern, with filmmakers often depending upon grants, crowdfunding, and partnerships to bring their visions to life. The issue of translation and the accurate conveyance of the film's message across different languages and cultures also poses a significant obstacle, impacting global accessibility and understanding. Moreover, the blending of documentaries with other genres, such as docufiction and hybrid documentaries, has raised questions about authenticity and the boundaries of the genre. Films that incorporate dramatized elements or fictionalized accounts challenge traditional definitions and expectations of documentary filmmaking. Despite these challenges, the documentary film continues to thrive and adapt, driven by innovative filmmakers who are committed to exploring new methods of storytelling and audience engagement. The modern state of documentary film is characterized by diversity and dynamism, reflecting the complexity of the world it seeks to depict and the varied tapestry of human experience.