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

How the Relation of the Camera to the Real is Problematized in The ThinBlue Line and Yuki Yukite ShingunDocumentary films can include every type of handling about the realworld. The accomplishments of nonfiction film be derived from more than thestereotypical edited interview segment, and recently have been a totality that isuseful as much for showing reality 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 inventionof a nonfiction work can legitimize many techniques that were previouslyunused and will ultimately provide countless new ways of exploring fond andhistorical issues. The examination of these issues using different visual stylesleads to the methodical questioning of the degree of truth that surrounds eachindividual style. For nonfiction cinema, the epistemological virtue exists insidethe relation of what is filmed and wh at truly is real. In an inspection of The ThinBlue Line and Yuki Yukite Shingun, the relation between the television camera and thereal is problematized by both films lettered 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 enjoin by Errol Morris in 1988. It is the retellingof a story of two men that meet by chance in Dallas, one of whom later kills apolice officer. The facts are chronicled through a series of interview segmentsand supplemented by various reenactments, striking visual images, and arepetitive, captivating musical 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 of theiroverall 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 Nonfiction 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.