Dokumenttielokuva

1
Dokumenttielokuva

• 30-40 -luvut

2
Määritelmiä 30-luvun Brittiläisen
dokumenttikoulukunnan piirissä

• JOHN GRIERSON A creative treatment of actuality
• BASIL WRIGHT Documentary is not this or that
  type of film but simply a method of approach to
  public information."

3
Dokumenttielokuvan määritelmiä USAssa

• PARE LORENTZ A factual film which is dramatic
• RICHARD MACCANN "not the authenticity of the
  materials but the authenticity of the result
  matters
• WILLARD VAN DYKE A film in which the elements of
  dramatic conflict represent social or political
  forces rather than individual ones. Therefore, it
  has an epic quality. Also, it cannot be a
  re-enactment. The social documentary deals with
  real people and real situations - with reality
• PHILIP DUNNE "By its very nature the documentary
  is experimental an inventive. Contrary to the
  general impression it may even employ actors. It
  may deal in fantasy or fact. It may or may not
  posses a plot. But most documentaries have one
  thing in common each springs from a definite
  need, each is conceived as an idea-weapon to
  strike a blow for whatever cause the originator
  has in mind. In the broadest sense, the
  documentary is almost always, therefore, an
  instrument of propaganda."

4
World Union of Documentaryn määritelmä (1948)

• ... all methods of recording on celluloid any
  aspect of reality interpreted by factual shooting
  of by sincere and justifiable reconstruction, so
  as to appeal either to reason or emotion, for the
  purpose of stimulating the desire for, and the
  widening of human knowledge and understanding,
  and of truthfully posing problems and their
  solutions in the spheres of economics, culture,
  and human relations.

5
Brittiläisen dokumenttielokuva koulukunnan
tuottajatahot

• Empire Marketing Board (EMB)
• General Post Office (GPO)
• Tuotannon organisoija John Grierson, myöhemmin
  Alberto Cavalcanti

6
Griersonin innoittajia

• WILLIAM CRAWFORD "Advertising is education. It
  makes people think. And thinking leads to
  action. The goal. engineering of consent
• R.S. LAMBERT The moving picture is a far more
  powerful instrument for influencing thought than
  the printed word or the spoken word. For even a
  backward mind can grasp a picture, where it could
  not comprehend a newspaper article or remember a
  spoken message clearly.
• GRIERSON The secret of Russian success in this
  field is due to the constant governmental drive
  (in state controlled production units) in favour
  of propaganda and to a certain freshness of
  technical approach which this limitation of genre
  forced on the film artists. By new-found devices
  of editing and photography they have been able to
  add dramatic emphasis to what might seem
  intractable and dull everyday material.

7
Brittiläisiä ihanteita (EMBn mukaan)

• Monarkia (tulossa harvinaisemmaksi ja siksi
  arvokkaammaksi)
• Parlamentaariset institutiot (ensimmäiset
  sellaiset)
• Laivasto
• Englantilainen raamattu, Shakespeare ja Dickens
• Kansainvälisissä asioissa - pyytteettömyyden
  maine
• Kansallisissa asioissa - oikeuden, lain ja
  järjestyksen traditio
• Kansallinen luonne - "a reputation for coolness"
• Taloudessa - rehellisen maine (fair dealing)
• Tuotannossa - laadun maine
• Urheilussa - reilun pelin maine

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Grierson vertailee dokumenttielokuvaa
taide-elokuvaan

• ... the most important field by far is
  propaganda. The circles devoted to the art of
  cinema mean well and they will help to articulate
  the development of technique, but the conscious
  pursuit of art carries with it, in periods of
  public difficulty, a certain shallowness of
  outlook (author's italics)
• The G.P.O. Film Unit, which succeeded the E.M.B.
  Film Unit, is the only experimental centre in
  Europe. Where the artist is not pursuing
  entertainment but purpose, not art but theme, the
  technique is energized inevitably by the size and
  scope of the occasion. How much further it
  reaches and will reach than the studio leapfrog
  of impotent and self-conscious art!

9
Cavalcantis fourteen points (I)

• Dont treat generalized subjects you can write
  an article about the mail service, but you must
  make a film about one single letter
• Dont depart from the principle which states that
  three fundamental elements exist the social, the
  poetic, and the technical
• Dont neglect your script or count on luck while
  shooting. When your script is ready, your film is
  made then, when you start to shoot, you begin
  again
• Dont trust in the commentary to tell your story
  the visuals and the sound accompaniment must do
  it. Commentary irritates, and gratuitous
  commentary irritates even more
• Dont forget that when you are shooting, each
  shot is part of a sequence and part of a whole
  the most beautiful shot, out of place, is worse
  than the most trivial
• Dont invent camera angles when they are not
  necessary unwarranted angles are disturbing and
  destroy emotion.

10
Cavalcantis fourteen points (II)

• Dont abuse a rapid rate of cutting an
  accelerated rhythm can be as pompous as the most
  pompous largo
• Dont use music excessively if you do, the
  audience will cease to hear it
• Dont supercharge the film with synchronized
  sound sound is never better than when it is
  suggestively employed
• Complementary sound constitutes the best sound
  track
• Dont recommend too many optical effects, or make
  them too complicated
• Dissolves and fades form part of the films
  punctuation they are your commas and periods
• Dont shoot too many close-ups save them for the
  climax. In a well- balanced film, they occur
  naturally when there are too many, they tend to
  suffocate and lose their significance

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Cavalcantis fourteen points (III)

• Dont hesitate to treat human elements and human
  relations human beings can be as beautiful as
  the other animals, as beautiful as the machines
  in a landscape
• Dont be vague in your story a true subject must
  be told clearly and simply. Nevertheless,
  clearness and simplicity do not necessarily
  exclude dramatization
• Dont lose the opportunity to experiment the
  prestige of the documentary film has been
  acquired solely by experimentation. Without
  experimentation, the documentary loses its value
  without experimentation, the documentary ceases
  to exist.

12
Brittikoulukunnan tärkempiä elokuvia

• JOHN GRIERSON Drifters (1929)
• WALTER CREIGHTON One Family (1929)
• EDGAR ANSTEY Housing Problems (1935)
• ALBERTO CAVALCANTI Coal Face (1935)
• BASIL WRIGHT Song of Ceylon (1935), Night Mail
  (1936)
• JOHN TAYLOR Smoke Menace (1937)

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Coal Face ja Housing Problems

• Rakenne asioiden esittelyjärjestys ja hierarkia
• Kuvan, äänen ja kommentaarin laatu ja keskinäiset
  suhteet
• Ongelma ja sen ratkaisumalli
• Kenen ääni kuuluu?
• Millaiselle katsojalle osoitettu?

14
Brittien sotadokumentit

• HARRY WATT HUMPHREY JENNINGS London Can Take
  It (1940)
• JENNINGS Listen to Britain (1942), The Silent
  Village (1943) A Diary for Timothy (1945)
• WATT Target for Tonight (1944)
• ROY BOULTINGING Desert Victory (1943).
• CAROL REED GARSON KANIN The True Glory (1945)
• ALBERTO CAVALCANTI Yellow Caesar (1940)
• LEN LYE Lambeth Walk (1940)

15
Joris Ivens

• De Brug (1928)
• Regen (1929)
• Borinage (1933)
• Nieuwe Gronden (1934)
• The Spanish Earth (1937)
• The Four Hundred Million (1939)
• Power and the Land (1940)

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Dokumenttielokuva Yhdysvalloissa

• Workers Film ja Photo League (1930) Workers
  Newsreel
• Kuvattiin vuosien 1930-32 nälkämarsseja ?
  dokumentti Hunger (1932)
• Frontier Films ja The March of Time 1935 alkaen
• RALPH STEINER WILLARD VAN DYKE Hands (1934),
  The City (1939)
• PARE LORENTZ The Plow that Broke the Plains
  (1936), The River (1938)
• FLAHERTY The Land (1942)
• PAUL STRAND LEO HURWITZ Native Land (1942)

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Dokumentteja Espanjan sisällisodasta

• STRAND HURWITZ Heart of Spain (1937)
• ROMAN KARMEN Espanja (1939)
• JORIS IVENS The Spanish Earth (1937)

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Leni Riefenstahl

• Sieg des Glaubens (1933)
• Triumph des Willens (1935)
• Olympia I-II (1938)

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Saksalaiset sota-ajan dokumenttielokuvat

• HANS BERTRAM Feuertaufe (1940)
• FRITZ HIPPLER Feldzug in Poland (1940), Sieg im
  Westen (1941), Der ewige Jude (1940)
• Gentlemen (1940), Rund um die Freiheitsstatue
  (1941)

20
Amerikkalaiset sotadokumentit

• FRANK CAPRA ANATOLE LITVAK Why We Fight
  sarja Prelude to War (1942), The Nazis Strike
  (1942), Divide and Conquer (1943), The Battle of
  Britain (1943), The Battle of Russia (1943), The
  Battle of China (1944), War Comes to America
  (1945).
• JOHN FORD The Battle of Midway (1944)
• WILLIAM WYLER Memphis Belle (1944)
• JOHN HUSTON Report from the Aleutians (1942),
  The Battle of San Pietro (1944), Let There be
  Light (1945)

21
Keskitysleiridokumentit

• JERZY BOSSAK WACLAW KAZIMIERCZAK Rekviem dla
  500 000 (1963)
• ROMAN KARMEN Sud naradov (1946)
• LORENTZ STUART SCHULBERG Nürnberg (1948)
• ANDREW ANNELIE THORNDIKE Du und mancher
  kameraden (1955), Urlaub auf Sylt (1957)
  Unternehmen Teutonenschwerdt (1958)
• SIDNEY BERNSTEIN Memory of the Camps
  (kuvamateriaali 1945, kooste 1985)
• ALAIN RESNAIS Nuit et bruillard (1955)
• CLAUDE LANZMANN Shoah (1985)