How the Relation of the Camera to the Real is Problematized in The Thin

How the Relation of the Camera to the authoritative is Problematized in The Thin sacrilegious Line and Yuki Yukite Shingun accusative get hold ofs can overwhelm every type of discourse about the veryworld. The accomplishments of nonfiction film are derived from more than thestereotypical edited hearing segment, and recently wealthy person been a totality that isuseful as much for showing naive realism as it is for expressing the creative visions ofits director. It is possible for the most extrinsic implications to be presented in away that reflects individual systemics and personal expression. The innovationof a nonfiction work can legitimize many techniques that were previouslyunused and leave behind ultimately provide countless new ways of exploring social and diachronic issues. The examination of these issues using different visual stylesleads to the methodical questioning of the compass point of truth that surrounds eachindividual style. For nonfiction cinema, the epist emological virtue exists insidethe relation of what is filmed and what truly is real. In an inspection of The Thin gentle Line and Yuki Yukite Shingun, the relation between the camera and thereal is problematized by both films intentional reversal of presentational truths,the awareness of the camera, the staging or reenacting of real events withactors, and the addition of graphical or aural stylistic elements.The Thin Blue Line was directed by Errol Morris in 1988. It is the retellingof a story of 2 men that meet by chance in Dallas, one of whom subsequently kills apolice officer. The facts are chronicled through a series of interview segmentsand supplemented by various reenactments, striking visual images, and arepetitive, captivating melodious accompaniment. The images presen... ...ing of real events with actors, and the addition ofgraphical or aural stylistic elements. As presented in The Thin Blue Line andYuki Yukite Shingun, these elements are important to the originality o f their boilers suit films and have the effect of problematizing the relation between thecamera and what is real.Sources CitedBruzzi, Stella. New Documentary A Critical Introduction. New York, NYRoutledge Publishing, 2000.MacDonald, Scott. A Critical Cinema 3 Interviews with Independent Filmmakers.Los Angeles, CA University of California Press, 1998.Plantinga, Carl R. Rhetoric and Representation in nonfictional prose Film. Cambridge,UK Cambridge University Press, 1997.Renov, Michael. Theorizing Documentary. New York, NY Routledge Publishing,1993.Ruoff, Kenneth. Filming at the Margins The Documentaries of Hara Kazuo.Iconics 16 (Spring 1993) 115-126.