Watch City Without a Past download di film mp4: A Film That Challenges the Hype and Romance of Detro

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A documentary film or documentary is a non-fictional motion-picture intended to "document reality, primarily for the purposes of instruction, education or maintaining a historical record".[1] Bill Nichols has characterized the documentary in terms of "a filmmaking practice, a cinematic tradition, and mode of audience reception [that remains] a practice without clear boundaries".[2]

Early documentary films, originally called "actuality films", lasted one minute or less. Over time, documentaries have evolved to become longer in length, and to include more categories. Some examples are educational, observational and docufiction. Documentaries are very informative, and are often used within schools as a resource to teach various principles. Documentary filmmakers have a responsibility to be truthful to their vision of the world without intentionally misrepresenting a topic.

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.[19] According to art historian and author Scott Macdonald,[20] 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.[19]

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".

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[21] 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.

The nature of documentary films has expanded in the past 20 years from the cinéma vérité style introduced in the 1960s in which the use of portable camera and sound equipment allowed an intimate relationship between filmmaker and subject. The line blurs between documentary and narrative and some works are very personal, such as Marlon Riggs's Tongues Untied (1989) and Black Is...Black Ain't (1995), which mix expressive, poetic, and rhetorical elements and stresses subjectivities rather than historical materials.[31]

Although documentaries are financially more viable with the increasing popularity of the genre and the advent of the DVD, funding for documentary film production remains elusive. Within the past decade, the largest exhibition opportunities have emerged from within the broadcast market, making filmmakers beholden to the tastes and influences of the broadcasters who have become their largest funding source.[35]

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.

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.

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