四月 2, 2017

英国哲学论文代写:电影—纪录片

英国哲学论文代写:电影—纪录片

纪录片正日益成为最重要和流行的媒体方式的有效表示现实事件,激励对象和社会问题在大众面前。从我的童年,纪录片一直获取我的注意由于其独特的表现风格,时间短,迷人的图像出现在快速的方式在后台和迷人的声音。我故意选择了这门课程获得知识的纪录片,提高我的技能演示和完善我的掌握技术的细微差别的能力,实践和理论方面的纪录片电影。纪录片是一种无视的媒体相比其他风格的电影。因此人们无法捕捉的纪录片是至关重要的注册信息,保留历史记录,表达想法和利益,解决关键问题,最重要的是促进人们通过发送社会信息以简洁的方式节省时间,工作、金钱和能源消耗在比较长时间的电影。通过这篇文章,我想反思我的旅程从一个不成熟的和业余的纪录片film-learner声音技术,知识和智慧的纪录片电影制片人。

英国哲学论文代写:电影—纪录片

课堂讲稿、教程、教科书材料通过研究帮助我自己的观察和理解的目的、不同的特点和现代在当代世界纪录片的定义。尼科尔斯(1997)精确地描述了它作为“观众接待模式”,因为它是一个非虚构故事的工具的事实内容反映在更多的思考和真实的方式。他说,可以有不同的定义的纪录片迎合观众的独特关注,film-creators和叙述。我发现Gierson论点令人印象深刻的“原始”角色和场景可以提供的解释内容更加突出比虚构的角色,因此这部纪录片是令人信服的“创造性的治疗现状”(莫里斯,1987)。温斯顿(1995)坚持这个想法进一步扩展纪录片的定义为一个超越“纯新闻技能”。仔细研究这些解释,我觉察到documentary-making实际上是一个漫长而复杂的过程,处理所需的媒体设备,活动的参与者、结构、主题或主题,编辑、摄像工作,前期制作,生产和后期制作政策而照顾极度参与社会、道德、和概念在纪录片中出现的困难。伯纳德(2007)确认,纪录片是不可避免的主观尽管客观性和主观性之间寻求平衡,我意识到“主观真理”的存在和证据客观性。我发现我对纪录片作为一个只有“客观现实”是完全改变了由于启蒙运动。

英国哲学论文代写:电影—纪录片

Documentary is increasingly becoming the most significant and popular mode of media for the effective representation of realistic events, motivational subjects and social issues in front of masses. From my childhood, Documentaries have always fetched my attention due to their unique representation style, short duration, fascinating images appearing in speedy manner and captivating sounds in the background. I deliberately opted for this course to gain knowledge of making the documentary, sharpen my skills of presentation and refine my ability to grasp nuances of technical, practical and theoretical aspects of documentary film-making. Documentary is a disregarded form of media compared to the other styles of films. Therefore people fail to capture the fact that the Documentary is essential to register information, keep historical records, express ideas and interests, address key issues and most importantly promote people by sending social messages in concise manner saving time, efforts, money and energy consumed in comparison with the long-duration films. Through this essay, I would like to reflect on my journey from being an immature and amateur documentary film-learner to a technically sound, knowledgeable and wise documentary film-maker now.

英国哲学论文代写:电影—纪录片
The lecture notes, tutorials, textbook material and my own observations through research helped me in understanding the purpose, distinct features and modern definition of documentary in the contemporary world. Nichols (1997) precisely describes it as “a mode of audience reception” since it is a non-fiction story telling tool by which factual content is represented in more elaborative and authentic manner. He asserts that there can be different definitions of Documentary that would cater to the unique concern of viewers, film-creators and the narrative. I found Gierson’s arguments very impressive that the “original” actors and scenes can deliver the interpretation of the content more prominently than the fictional characters and hence the Documentary is convincingly a “creative treatment of actuality” (Morris, 1987). Winston (1995) upholds this idea further extending the definition of documentary as the one that transcends “pure journalistic skills”. Carefully studying these interpretations, I perceived that documentary-making is actually a lengthy and complex process that deals with the required media devices, activities of participants, structure, subject or theme, editing, camera work, and pre-production, production and post-production policies while taking care of critically engaging social, ethical, and conceptual difficulties arising in the documentary. As Bernard (2007) affirms that the documentary is inevitably subjective despite seeking balance between objectivity and subjectivity, I realized the existence and proof of ‘subjective truth’ in objectivity. I found my perception of documentary as an only ‘objective reality’ is completely changed due to this enlightenment.

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