This construction process is dynamic as the viewer continues to accommodate developments in history to reconstruct his own story as the film progresses. The difference between documentaries and fiction films is that in the first the viewer’s participation is explicit, while in fiction films it is not explicit. Another feature of the difference is the actors in the fiction films that the actors care about.
As with the use of storytellers and stories in a fictional film, documentaries use rhetorical positions that make up the film according to certain beliefs and perspectives. Exploratory positions announce or suggest that the film’s driving perspective is a scientific quest for ดูหนังฟรี certain social, psychological or physical phenomena. Interrogative or analytical positions structure a film rhetorically in a way that identifies the subject as examined, either by an implicit or explicit form of questions and answers, or by other, more subtle techniques.
His films like “Bowling for columbine” and “Fahrenheit 9/11” have different clips that have been manipulated / edited in a way that gives a different meaning than the speaker’s actual meaning. Moore’s work will remain categorized as a documentary because his clips still come from facts, but the representation is manipulated to give a different meaning, sometimes completely out of context. Therefore, Moore’s work is a mix of facts and fiction, but it is still classified as a documentary. There are different types of non-fiction texts, as well as different types of documentary styles. To understand how these works send objective information, we organize them into categories.
The form of a documentary is mainly determined by the theme, the purpose and the focus. Usually there is no conventional dramatic progression from exposure to complication and discovery to climax and outcome. Documentary forms are usually functional, varied and more flexible than stories, novels or plays. They are more like non-narrative literary forms, such as essays, advertisements, editorial articles or poems. All of these definitions may provide a different definition of the term, but all these definitions indicate that documentaries are based on facts.
Filmmakers who worked in this subgenre often considered the poetic mode to be too abstract and the explanatory mode too didactic. The earliest observation documents date from the 1960s; Technological developments that have made them possible include light mobile cameras and portable sound recording equipment for synchronized sound. Often this movie mode avoided voice-over notes, post-synchronized dialog and music, or recreations. The films pointed to directness, intimacy and the revelation of the individual human character in situations of ordinary life. The propagandistic tradition consists of films made with the explicit aim of convincing an audience of a point.