Documentary & Short Film Maker
A documentary f ilm is a non-fictional motion-picture intended to "document reality, primarily for the purposes of instruction, education, or maintaining a historical record”- compare documentary theatre. Bill Nichols has characterised the documentary in terms of "a f ilmmaking p ractice, a cinematic tradition, and mode of audience reception [that remains] a practice without clear boundaries".Documentary films, originally called "actuality films", lasted one minute, or less. Over time, documentaries have evolved to become longer in length, and to include more categories; some examples being: educational,
observational, and docufiction. Documentaries are meant to be informative works, and are often used within schools, as a resource to teach various principles. AddressBazar.com is an Bangladeshi Online Yellow Page. From here you will find important and necessary information of various D ocumentary and Short Films maker Company in Bangladesh. Social-media platforms (such as YouTube) have provided an avenue for the growth of the documentary-film genre. These platforms have increased the distribution area and ease-of-accessibility; thereby enhancing the ability to educate a larger volume of viewers, and broadening the reach of persons who receive that information. Definition Polish writer and filmmaker B olesław Matuszewski was among those who identified the mode of documentary film. He wrote two of the earliest texts on cinema Une nouvelle source de l'histoire (eng. A New Source of History) and La photographie animée (eng. Animated photography). Both were published in 1898 in French and among the early written works to consider the historical and documentary value of the film. Matuszewski is also among the first filmmakers to propose the creation of a Film Archive to collect and keep safe visual materials.
In popular myth, the word "documentary" was coined by Scottish documentary filmmaker John Grierson in his review of Robert Flaherty's film Moana (1926), published in the New York Sun on 8 February 1926, written by "The Moviegoer" (a pen name for Grierson).
Grierson's p rinciples of documentary w ere that cinema's potential for observing life could be exploited in a new art form; that the "original" actor and "original" scene are better guides than their fiction counterparts to interpreting the modern world; and that materials " thus taken from the raw" can be more real than the
acted article. In this regard, Grierson's definition of documentary as "creative treatment of actuality” has gained some acceptance, with this position at variance with Soviet film-maker Dziga Vertov's provocation to present "life as it is" (that is, life filmed surreptitiously) and "life caught unawares" (life provoked or surprised by the camera). The American film critic Pare Lorentz defines a documentary film as "a factual film which is dramatic.” Others further state that a documentary stands out from the other types of non-fiction films for providing an opinion, and a specific message, along with the facts it presents. Documentary practice is the complex process of creating documentary projects. It refers to what people do with media devices, content, form, and production strategies in order to address the creative, ethical, and conceptual problems and choices that arise as they make documentaries. Documentary filmmaking can be used as a form of journalism, advocacy, or personal expression.
Short film
A short film is any motion picture not long enough in running time to be considered a feature film. The Academy of Motion Picture Arts and Sciences defines a short film as "an original motion picture that has a running time of 40 minutes or less, including all credits". In the United States, short films were generally termed short subjects from the 1920s into the 1970s when confined to two 35mm
reels or less, and featurettes for a film of three or four reels. "Short" was an abbreviation for either term. The i ncreasingly rare industry term "short subject" carries more of an assumption that the film is shown as part of a presentation along with a feature film. Short films are often screened at local, national, or international film festivals and made by independent filmmakers with either a low budget or no budget at all. They are usually funded by film grants, nonprofit organizations, sponsor, or personal funds. Short films are generally used for industry experience and as a platform to showcase talent to secure fu nding for future projects from private investors, a production company, or film studios. History All f ilms in the beginning of c inema were very short, sometimes running only a minute or less. It was not until the 1910s when films started to get longer than about ten minutes. The first set of films were presented in 1894 and it was through Thomas Edison's device called a kinetoscope. It was made for individual viewing only. Comedy short films were produced in large numbers compared to lengthy features such as D. W. Griffith's The Birth of a Nation. By the 1920s, a ticket purchased a varied program including a feature
and several supporting works from categories such as second feature, short comedy, 5–10 minute cartoon, travelogue, and newsreel.
Short comedies were especially popular, and typically came in a serial or series (such as the Our Gang movies, or the many outings of Charlie Chaplin's Little Tramp character). Animated cartoons came principally as short subjects. Virtually all major film production companies had units assigned to develop and produce shorts, and many companies, especially in the silent and very early sound era, produced mostly or only short subjects
In the 1930s, the distribution system changed in many countries, owing to the Great Depression. Instead of the cinema owner assembling a program of their own choice, the studios sold a package centered on a main and supporting feature, a cartoon and little else. With the rise of the double feature, two-reel shorts went into decline as a commercial category. Hal Roach, for example, moved Laurel and Hardy full-time into feature films after 1935, and halved his popular Our Gang films to one reel. By the 1940s, he had moved out of short films altogether (though Metro-Goldwyn-Mayer continued the Our Gang shorts until 1944). Later shorts include George O'Hanlon's Joe McDoakes movies, and the animated work of studios such as Walt Disney Productions, Warner Bros. Cartoons. By the mid-1950s, with the rise of television, the commercial live-action short was virtually dead, The Three Stooges being the last major series of 2-reelers, ending in 1959. Short films had become a medium for student, independent and specialty work. Cartoon shorts had a longer life, due in part to the implementation of lower-cost limited animation techniques. Despite being popular, they also declined in this period. Warner Bros., one of the most prolific of the golden era, shut down its studio permanently in 1969. The Pink Panther was the last regular theatrical cartoon short series, having begun in 1964 (and thus having spent its entire
existence in the limited animation era) and ended in 1980. By the 1960s, the market for animated shorts had largely shifted to television, with existing theatrical shorts being syndicated to television. Production
Coppola was working on The Rain People as a small, intimate film about real-life people, and Lucas decided to make a small, intimate cinema-verite documentary about the making of Coppola's film. Lucas pitched the idea of a documentary to Coppola, who gave
Lucas the go-ahead, with the film paid for from Rain People's still photography budget. The budget of the documentary was $12,000. Lucas filmed and recorded sound for the documentary himself, using an otherwise unutilised 16mm production camera and a Nagra tape recorder. Mona Skager, an associate on Rain People, often saw Lucas on the floor, shooting up through glass-topped tables. "It was basically because the camera was too heavy", she recalled. Ron Colby, producer on The Rain People, described Lucas's work habits: "George was around in a very quiet way. You'd look around and suddenly there'd be George in a corner with his camera. He'd just kind of drift around. But he shot the camera, did his own sound. He was very much a one-man band". Lucas would spend nearly every day shooting the documentary, while working on the script for THX 1138 at night. Coppola was tolerant of the documentary's production process, although occasionally appeared unhappy when the camera invaded his privacy. Lucas filmed some confrontations between Coppola and actress Shirley Knight, but ultimately rejected most of the footage. "I decided to be discreet, I didn't want to destroy anyone's career", Lucas said later. Lucas and his then-girlfriend, Marcia Griffin, edited Filmmaker. Lucas described the documentary as "more therapy than anything else… I hadn't shot film for a long time". The closing shot says the film was made at "Transamerica Sprocket Works", a fictitious company name that Lucas liked the sound of. The film was copyrighted by American Zoetrope/Lucasfilm Ltd.—the first film credit for the unofficial, then-new names of Coppola's and Lucas's respective companies.
