澳洲论文代写：观测纪录片模式。观测纪录片是人类电影中被分析最多的模式，它也被称为cinema verité或direct cinema。这些观察纪录片试图追求电影的真实感。在视频和电影中可以看到坚韧的现实主义。20世纪60年代和70年代的实际电影制作使用了多种技术进步。很明显，导演在拍摄过程中并没有使用更快的镜头。即使只有两个人的低调摄制组也可以利用现有的光线在任何地方拍摄，他们将遵循现实。接下来澳洲论文代写将为同学们分析下观测纪录片模式。
庞大的电影制作需要精细的技术设置和动作表演的细微差别。然而，这部电影并没有展示任何这些元素。弗雷德里克·怀斯曼被认为是观察电影的大师。他以创作电影而闻名，如1997年的《公共住房》。然而，怀斯曼不喜欢他的电影被归类为任何类型。在这些电影中，有精心编辑和安排的场景。这些向观众展示了他们可以处理的信息(Coffman, 2009)。电影制作人没有干预和改变叙事主题。导演关注电影的原因是，导演可以仔细关注正在展开的事件。一些采用类似电影制作技术的电影有，1967年的《不要回头》，1969年的《推销员》，阿尔伯特和大卫·梅斯。
媒体教育通常是为了应对挑战，确保电影的叙事情节抓住观众的注意力。这部电影的演员和故事结构的细节在理论书中都有很好的阐述。另一方面，捕捉故事情节的现实主义却不明显。游戏中没有创造或伦理过程，甚至没有使用神秘角色来让故事显得相关。制作者需要意识到这个主题，并为观众创造一个教学过程来获得公民参与。纪录片和实际主题之间的互动更加困难，而且存在每个电影人都需要解决的意识形态对立。在Rouch的民族志纪录片作品中，主要关注西非的事件。观众被灌输关于事件的主观信息。Rouch认为，制作纪录片有两个要素。这是电影和种族视角的元素。在电影《海中烈火》中，像怀斯曼这样的电影人所坚持的直接电影手法的使用是显而易见的。这部电影是基于媒体主体与“不舒服”的事实的合作工作。在这些情况下，获得社区信任需要积极地与人们的社区愿景相结合(Mazzara, 2016)。他们必须保持社区对未来的信任。先拍后解释的感觉。电影制作者在捕捉人类问题的情况下，需要意识到伦理的影响。他们还主张他们与研究对象互动的方式中的个人方法或移情方法(Kushner, 2016)。
总结一下观察性电影，就是要确保电影人能够隐形自己的意识形态，尽可能以最中立的方式将信息呈现给公众。电影制作人需要用真实的故事和情节来创造一个叙事世界。此外，观众也会含蓄地积极参与故事情节。导演需要保持观众的批判性，鼓励叙事情节，而不是带有偏见的观点。在这部特别的电影中，导演试图概括发生的确切事件，而不是让观众讨论他们对移民和政治改革的先入为主的观念。在移民政治中有许多因素需要考虑。许多政治领导人将此作为在政策和职业发展上取得进步的平台。在这个过程中，导演面临的挑战是让人们意识到现实的情况，以及其他人需要采取行动来挽救情况。这种政治意识形态让某些人制造了一种对人民苦难漠不关心的气氛。真实的人受到了伤害，他们需要被拯救。这一点在导演们创作的纪录片中得到了体现。尽管作出了克服这些限制的最大努力，但在这些情况中仍然存在某些限制。下面将详细介绍这些限制。
The bulky film production requires finicky technical setups and nuances staging of the action. However, this movie does not showcase any of these elements. Frederick Wiseman is contemplated to be the maestro of observational cinema. He is known for the creation of movies such as “Public Housing,” 1997. However, Wiseman does not like his movies to be categorization towards any genre. In these movies, there are carefully edited and arranged scenes. These show the viewer with information that they can process (Coffman, 2009). The filmmaker does not intervene and change the narrative theme. The reason for the director to focus on the movie is that the director can pay careful attention to the events that are unfolding’s. Some of the movies that follow similar techniques of filmmaking are “Don’t Look Back” D.A. Pennebaker, 1967, “Salesmen” Albert and David Maysles, 1969.
The media educations are often made to address the challenges of ensuring that the narrative plot of the movie captures the attention of the audience. The particulars of the casting or the story structure of the movie is well addressed in the theoretical books. On the other hand, the practical realism of capturing the storylines is not evident. There are no creative or ethical processes or even the use of the mystical characters to make the story seem relevant. The maker needs to be aware of the subject and create a pedagogical process for the audience to gain civic engagement. The interaction between the documentary and the actual subject is more difficult and has an ideological opposition that each filmmaker needs to address. In the Rouch’s ethnographic documentary works, that focuses on the events in West Africa. The viewer is fed information about the subjective information about the events. According to Rouch, there are two elements in the making of a documentary. It is the element of the cine and the ethno perspective. In the movie “Fire at the Sea”, the use of the direct cinema practices that is adhered by filmmakers such as Wiseman is evident. The movie is based on the collaborative work of the media subject with the “uncomfortable” truth of the situation. In these cases, gaining of the community trust needs to be actively incorporated with the sense of the community vision of the people (Mazzara, 2016). It is imperative that they maintain the community’s trust that exists into the future. A sense of shoot first and explain later is observed. The filmmakers in these situations of capturing human issues need to be aware of the ethical implications. They are also asserting the personal approach or the empathetic methods of the ways in which they interact with the subjects (Kushner, 2016).
To summarize about observational movie, it is to make sure that the filmmaker is able to make their ideology invisible and present the information to the public in the most neutral manner as possible. The filmmaker needs to create a diegetic world with a real story and plot. Moreover, the audience is implicitly having an active participation with the storyline. The director needs to keep the viewer from being critical and encourage the narrative plot rather than being biased with their opinion. In this particular movie, the director has tried to capsulate the exact events that were occurring rather than make the viewer discuss about their preconceived notions about immigration and political reform. There are many factors that need to be deliberated in the politics of immigration. Many of the political leaders use this as a platform for making strides in their policy and career development. In this process, the director has a challenge of making the people aware of the reality of the situation and the need for other to act to salvage the situation. This political ideology has someone created an aura of indifference to the suffering of the people. Real people are hurt and they need to be rescued. This was personified in the documentary that was created by the directors. In spite of the best efforts to overcome the limitations, certain limitations continue to exist in these situations. The limitations are detailed in the following.
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