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A documentary film or documentary is a non-fictional motion picture intended to "document reality, primarily for instruction, education or maintaining a historical record". Bill Nichols has characterized the documentary in terms of "a filmmaking practice, a cinematic tradition, and mode of audience reception [that remains] a practice without clear boundaries".
Dziga Vertov was a Soviet pioneer documentary film and newsreel director, as well as a cinema theorist. His filming practices and theories influenced the cinéma vérité style of documentary movie-making and the Dziga Vertov Group, a radical film-making cooperative which was active from 1968 to 1972. He was a member of the Kinoks collective, with Elizaveta Svilova and Mikhail Kaufman.
The cinema of Japan, also known domestically as hōga, has a history that spans more than 100 years. Japan has one of the oldest and largest film industries in the world; as of 2021, it was the fourth largest by number of feature films produced. In 2011, Japan produced 411 feature films that earned 54.9% of a box office total of US$2.338 billion. Films have been produced in Japan since 1897, when the first foreign cameramen arrived.
The cinema of China is the filmmaking and film industry of the Chinese mainland under the People's Republic of China, one of three distinct historical threads of Chinese-language cinema together with the cinema of Hong Kong and the cinema of Taiwan.
A propaganda film is a film that involves some form of propaganda. Propaganda films spread and promote certain ideas that are usually religious, political, or cultural in nature. A propaganda film is made with the intent that the viewer will adopt the position promoted by the propagator and eventually take action towards making those ideas widely accepted. Propaganda films are popular mediums of propaganda due to their ability to easily reach a large audience in a short amount of time. They are also able to come in a variety of film types such as documentary, non-fiction, and newsreel, making it even easier to provide subjective content that may be deliberately misleading.
Triumph of the Will is a 1935 German Nazi propaganda film directed, produced, edited and co-written by Leni Riefenstahl. Adolf Hitler commissioned the film and served as an unofficial executive producer; his name appears in the opening titles. It chronicles the 1934 Nazi Party Congress in Nuremberg, which was attended by more than 700,000 Nazi supporters. The film contains excerpts of speeches given by Nazi leaders at the Congress, including Hitler, Rudolf Hess and Julius Streicher, interspersed with footage of massed Sturmabteilung (SA) and Schutzstaffel (SS) troops and public reaction. Its overriding theme is the return of Germany as a great power with Hitler as its leader. The film was produced after the Night of the Long Knives, and many formerly prominent SA members are absent.
War film is a film genre concerned with warfare, typically about naval, air, or land battles, with combat scenes central to the drama. It has been strongly associated with the 20th century. The fateful nature of battle scenes means that war films often end with them. Themes explored include combat, survival and escape, camaraderie between soldiers, sacrifice, the futility and inhumanity of battle, the effects of war on society, and the moral and human issues raised by war. War films are often categorized by their milieu, such as the Korean War; the most popular subjects are the Second World War and the American Civil War. The stories told may be fiction, historical drama, or biographical. Critics have noted similarities between the Western and the war film.
Jean Sibelius was a Finnish composer of the late Romantic and early-modern periods. He is widely regarded as his country's greatest composer, and his music is often credited with having helped Finland develop a stronger national identity when his country was struggling from several attempts at Russification in the late 19th century.
Yasujirō Ozu was a Japanese filmmaker. He began his career during the era of silent films, and his last films were made in colour in the early 1960s. Ozu first made a number of short comedies, before turning to more serious themes in the 1930s. The most prominent themes of Ozu's work are family and marriage, and especially the relationships between generations. His most widely beloved films include Late Spring (1949), Tokyo Story (1953) and An Autumn Afternoon (1962).
Luis Buñuel Portolés was a Spanish and Mexican filmmaker who worked in France, Mexico, and Spain. He has been widely considered by many film critics, historians, and directors to be one of the greatest and most influential filmmakers of all time. Buñuel’s works were known for their avant-garde surrealism which were also infused with political commentary.
A feature film or feature-length film, also called a theatrical film, is a narrative film with a running time long enough to be considered the principal or sole presentation in a commercial entertainment program. The term feature film originally referred to the main, full-length film in a cinema program that included a short film and often a newsreel. Matinee programs, especially in the US and Canada, in general, also included cartoons, at least one weekly serial and, typically, a second feature-length film on weekends.
Tendency film was a genre of socially conscious, left-leaning films produced in Japan during the 1920s and 1930s. Tendency films reflected a perceived leftward shift in Japanese society in the aftermath of the 1927 Shōwa financial crisis. Notable examples of the genre are Tomu Uchida's A Living Puppet (1929), Kenji Mizoguchi's Tokyo March and Metropolitan Symphony, Tomotaka Tasaka's Behold This Mother (1930), and Shigeyoshi Suzuki's What Made Her Do It? (1930).
The Eternal Jew is a 1940 antisemitic Nazi propaganda film, presented as a documentary. The film's initial German title was Der ewige Jude, the German term for the character of the "Wandering Jew" in medieval folklore. The film was directed by Fritz Hippler at the insistence of Nazi Germany's Minister of Propaganda, Joseph Goebbels.
The cinema of Indonesia refers to films produced domestically in Indonesia. The statutory Indonesian Film Board, or BPI, defines Indonesian films as "movies that are made by or using Indonesian resources whose Intellectual Property Right is owned either entirely or partly by Indonesian citizen or Indonesian legal entity".
Jud Süß is a 1940 Nazi German historical drama and propaganda film produced by Terra Film at the behest of Joseph Goebbels. It is considered one of the most antisemitic films of all time. The film was directed by Veit Harlan, who wrote the screenplay with Eberhard Wolfgang Möller and Ludwig Metzger. The leading roles were played by Ferdinand Marian and Harlan's wife Kristina Söderbaum; Werner Krauss and Heinrich George played key supporting roles.
The military–entertainment complex is the cooperation between militaries and entertainment industries to their mutual benefit, especially in such fields as cinema, multimedia, virtual reality, and multisensory extended reality.
The Day of the Shining Star is a public holiday in North Korea falling on 16 February, the anniversary of the birth of the country's second leader, Kim Jong Il. Along with the Day of the Sun, the birthday of his father Kim Il Sung, it is the most important public holiday in the country.
The cinema of Gabon has had an uneven history. Though President Omar Bongo and his wife, Josephine Bongo, encouraged filmmaking in the 1970s, there was a 20-year hiatus until filmmaking started to grow again in the new millennium.
References
- 1 2 3 4 "Ulkoministeriön tuhoutunut propagandaelokuva koottiin uusiksi pienistä paloista – RSO säestää miljoonien näkemän Finlandian". Yle Uutiset. Retrieved 31 August 2017.
- ↑ Nygård, Mari. "Amerikansiirtolainen ja suomalaiset filmit 1921–1939" (PDF). Turku: Siirtolaisuusinstituutti.
- ↑ John Sundholm (31 August 2012). Historical Dictionary of Scandinavian Cinema. Scarecrow Press. p. 121. ISBN 978-0-8108-5524-3.
- ↑ "Tältä näyttää Suomen katsotuin elokuva - katso kuvat!". 9 April 2008. Retrieved 31 August 2017.
- ↑ Geoffrey Nowell-Smith (1997). The Oxford History of World Cinema. Oxford University Press. p. 153. ISBN 978-0-19-874242-5.
- ↑ Annette Kuhn; Guy Westwell (21 June 2012). A Dictionary of Film Studies. OUP Oxford. p. 471. ISBN 978-0-19-103465-7.