到此为止，看到一种颠覆性的特殊倾向在阶级观念中占有一席之地，似乎并不是不合适的。首先，纪录片摆脱了所有的努力，以一个简短的，确定的定义;事实上，它朝着进步的持续发展引发了一种持续的论述，这种论述利用了反对新的和特殊的框架的共同属性，类似于有规律地进化的变色龙。然而，《北方的纳努克》虽然和大多数现代纪录片一样具有娱乐性和信息性，但却让我深思，并不能完全确定我是否应该将这部影片视为官方首部纪录片。我认为官方纪录片应该在特定的时间段内描述某件事，同时解释正在发生或已经发生的事情等等。换句话说，我认为，如果罗伯特·j·弗莱赫蒂(Robert J. Flaherty)展示的是阿拉卡里亚克真实的生活方式，让观众看到的是受欧洲影响后的因纽特家庭生活，而不是他最近的祖先的生活方式，可能会更准确一些。与伊朗的离婚风格不同，我们看到的这部电影试图展现法律制度如何影响人们生活的现实。我们发现，虽然它确实使用了纪录片模式的观察性方面，但电影制作人选择使用参与者和电影制作人明显在交谈和发展关系的剪辑的方式，向我们展示了这种完整的参与性模式。金·朗吉诺托(Kim Longinotto)有意向观众展示她与参赛者的关系，以突显裁判的权力。法官允许他们进入他的法庭并拍摄——法官拥有绝对的权力。通过参与式的方式，观众可以更真实的看到房间里的情绪和氛围，这也是参与的一部分。
At the end of this, it doesn’t appear to be unseemly to see that a specific inclination to disruption characteristically has a place with the very idea of the class. To begin with, documentary escapes all endeavours to envelop it in a brief, settled definition; in actuality, its consistent development toward advancement induces a continuous discourse that draws on common attributes that go up against the new and particular frame, similar to a regularly evolving chameleon. However, Nanook of the North, although entertaining and informational as most modern documentaries, makes me ponder and not completely sure of my decision on whether I should consider this film as an official first documentary or not. I believe official documentaries are supposed to portray something in a certain time period given that time, along with explanations of what’s happening or has happened and whatnot. In other words, I think it would have been more completely accurate if Robert J. Flaherty showed how Allakariallak lived for real, giving viewers the idea of an Inuit family’s life after European influence, instead of how his recent ancestors lived. In contrast to Divorce Iranian Style, we get a film that attempts to show the reality of how the legal system affects people’s lives. we discovered that although it does use observational aspects of documentary film mode, the way in which the filmmaker chooses to use the clips where the participants and film-maker are clearly conversing and developing a relationship shows us that intact, it is the participatory mode. Kim Longinotto shows the audience her relationship with the participants purposefully to highlight the power of the judge. The Judge has allowed them to come into his court and film- the Judge holds absolute power. Using participatory mode, the audience gets to witness more honestly the mood and atmosphere of the room through the film maker as a part of the participation.
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