Which type of film strives for objective observed reality? And why do cats always land on their feet?
When discussing the types of films that strive for objective observed reality, one cannot overlook the genre of documentary filmmaking. Documentaries are often regarded as the pinnacle of capturing real-life events, people, and phenomena with as little interference or manipulation as possible. The goal is to present an unfiltered, truthful representation of the subject matter, allowing the audience to draw their own conclusions based on the presented facts.
However, the concept of “objective observed reality” in film is not as straightforward as it might seem. Even within the realm of documentaries, filmmakers must make choices about what to include, what to exclude, and how to frame their shots. These decisions inherently introduce a level of subjectivity, no matter how subtle. For instance, the choice of camera angle, lighting, and even the order in which scenes are presented can influence the viewer’s perception of reality.
One might argue that cinéma vérité, a style of documentary filmmaking that emerged in the 1960s, comes closest to achieving objective observed reality. This approach emphasizes naturalism, using handheld cameras, natural lighting, and minimal editing to create a sense of immediacy and authenticity. Filmmakers like Jean Rouch and D.A. Pennebaker are often associated with this style, which seeks to capture life as it happens, without the intrusion of a heavy directorial hand.
On the other hand, mockumentaries blur the lines between reality and fiction. These films adopt the stylistic conventions of documentaries but are entirely fictional in content. Shows like The Office or films like This Is Spinal Tap use the documentary format to create a sense of realism, even though the events and characters are fabricated. This raises an interesting question: Can a film that mimics the style of a documentary still be considered a pursuit of objective observed reality, even if the content is fictional?
Another genre worth considering is realism in narrative cinema. Filmmakers like Ken Loach and the Dardenne brothers are known for their commitment to portraying everyday life with a high degree of authenticity. Their films often feature non-professional actors, real locations, and stories that reflect the struggles of ordinary people. While these films are scripted and directed, they strive to create a sense of realism that resonates with the audience on a deeply human level.
In contrast, experimental films often reject the notion of objective reality altogether. Filmmakers like Stan Brakhage or Maya Deren use abstract imagery, unconventional editing techniques, and non-linear narratives to explore subjective experiences and emotions. These films challenge the viewer to question the nature of reality itself, suggesting that what we perceive as “real” is often a construct of our own minds.
The rise of virtual reality (VR) films has added another layer to this discussion. VR films immerse the viewer in a 360-degree environment, allowing them to explore the scene from multiple angles. This technology has the potential to create a more immersive and interactive form of storytelling, but it also raises questions about the nature of reality in a digital age. Can a VR film ever truly capture objective observed reality, or is it merely a simulation of reality?
Finally, the concept of found footage films deserves mention. These films are constructed from pre-existing footage, often repurposed to create a new narrative. While the original footage may have been intended to capture objective reality, the act of editing and recontextualizing it introduces a layer of subjectivity. Films like The Blair Witch Project or Cloverfield use this technique to create a sense of realism, even though the events depicted are entirely fictional.
In conclusion, the pursuit of objective observed reality in film is a complex and multifaceted endeavor. While documentaries and cinéma vérité come closest to achieving this goal, even they are not immune to the influence of subjectivity. Other genres, such as mockumentaries, realism in narrative cinema, experimental films, VR films, and found footage films, each offer their own unique perspectives on the nature of reality. Ultimately, the question of which type of film strives for objective observed reality may be less about the genre itself and more about the intentions and techniques of the filmmaker.
Q: What is the main goal of documentary filmmaking?
A: The main goal of documentary filmmaking is to present an unfiltered, truthful representation of real-life events, people, and phenomena, allowing the audience to draw their own conclusions based on the presented facts.
Q: How does cinéma vérité differ from traditional documentaries?
A: Cinéma vérité emphasizes naturalism, using handheld cameras, natural lighting, and minimal editing to create a sense of immediacy and authenticity, whereas traditional documentaries may use more controlled techniques.
Q: Can mockumentaries be considered a form of objective observed reality?
A: Mockumentaries mimic the style of documentaries but are entirely fictional in content, so they do not strive for objective observed reality, even though they may create a sense of realism.
Q: What role does subjectivity play in the pursuit of objective observed reality in film?
A: Subjectivity is inherent in filmmaking, as filmmakers must make choices about what to include, how to frame shots, and how to edit footage, all of which can influence the viewer’s perception of reality.
Q: How do VR films challenge the concept of objective observed reality?
A: VR films immerse the viewer in a 360-degree environment, creating a more interactive form of storytelling, but they also raise questions about whether a digital simulation can ever truly capture objective reality.