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68-511: This Film Is Not Yet Rated is a 2006 American documentary film about the Motion Picture Association of America 's rating system and its effect on American culture , directed by Kirby Dick and produced by Eddie Schmidt . It premiered at the 2006 Sundance Film Festival and received a limited theatrical release on September 1, 2006. IFC , the film's distributor, aired the film later that year. The film discusses

136-591: A Metropolis (dir. Walter Ruttmann , 1927); Man with a Movie Camera (dir. Dziga Vertov , 1929); Douro, Faina Fluvial (dir. Manoel de Oliveira , 1931); and Rhapsody in Two Languages (dir. Gordon Sparling , 1934). A city symphony film, as the name suggests, is most often based around a major metropolitan city area and seeks to capture the life, events and activities of the city. It can use abstract cinematography (Walter Ruttman's Berlin ) or may use Soviet montage theory (Dziga Vertov's, Man with

204-421: A Movie Camera ). Most importantly, a city symphony film is a form of cinepoetry , shot and edited in the style of a " symphony ". The European continental tradition ( See: Realism ) focused on humans within human-made environments, and included the so-called city symphony films such as Walter Ruttmann's, Berlin: Symphony of a Metropolis (of which Grierson noted in an article that Berlin, represented what

272-429: A Summer ( Jean Rouch ), Dont Look Back ( D. A. Pennebaker ), Grey Gardens ( Albert and David Maysles ), Titicut Follies ( Frederick Wiseman ), Primary and Crisis: Behind a Presidential Commitment (both produced by Robert Drew ), Harlan County, USA (directed by Barbara Kopple ), Lonely Boy ( Wolf Koenig and Roman Kroitor ) are all frequently deemed cinéma vérité films. The fundamentals of

340-527: A broader perspective, as a reaction against studio-based film production constraints. Shooting on location, with smaller crews, would also happen in the French New Wave , the filmmakers taking advantage of advances in technology allowing smaller, handheld cameras and synchronized sound to film events on location as they unfolded. Although the terms are sometimes used interchangeably, there are important differences between cinéma vérité ( Jean Rouch ) and

408-630: A documentary should not be); Alberto Cavalcanti's, Rien que les heures; and Dziga Vertov's Man with a Movie Camera . These films tend to feature people as products of their environment, and lean towards the avant-garde. Dziga Vertov was central to the Soviet Kino-Pravda (literally, "cinematic truth") newsreel series of the 1920s. Vertov believed the camera – with its varied lenses, shot-counter shot editing, time-lapse, ability to slow motion, stop motion and fast-motion – could render reality more accurately than

476-437: A form of journalism, advocacy, or personal expression. Early film (pre-1900) was dominated by the novelty of showing an event. Single-shot moments were captured on film, such as a train entering a station, a boat docking, or factory workers leaving work. These short films were called "actuality" films; the term "documentary" was not coined until 1926. Many of the first films, such as those made by Auguste and Louis Lumière , were

544-515: A major battle and re-enact scenes to film them. The propagandist tradition consists of films made with the explicit purpose of persuading an audience of a point. One of the most celebrated and controversial propaganda films is Leni Riefenstahl 's film Triumph of the Will (1935), which chronicled the 1934 Nazi Party Congress and was commissioned by Adolf Hitler . Leftist filmmakers Joris Ivens and Henri Storck directed Borinage (1931) about

612-437: A minute or less in length, due to technological limitations. Examples can be viewed on YouTube. Films showing many people (for example, leaving a factory) were often made for commercial reasons: the people being filmed were eager to see, for payment, the film showing them. One notable film clocked in at over an hour and a half, The Corbett-Fitzsimmons Fight . Using pioneering film-looping technology, Enoch J. Rector presented

680-506: A more poetic aesthetic approach to documentary. Examples of their work include Drifters (John Grierson), Song of Ceylon (Basil Wright), Fires Were Started , and A Diary for Timothy (Humphrey Jennings). Their work involved poets such as W. H. Auden , composers such as Benjamin Britten , and writers such as J. B. Priestley . Among the best known films of the movement are Night Mail and Coal Face . Calling Mr. Smith (1943)

748-577: A new art form; that the "original" actor and "original" scene are better guides than their fiction counterparts for 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; however, this position is at variance with Soviet film-maker Dziga Vertov 's credos of provocation to present "life as it is" (that is, life filmed surreptitiously), and "life caught unawares" (life provoked or surprised by

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816-486: A number of alleged disparities in the ratings the MPAA gives films and the feedback it gives filmmakers based on whether the project is a studio or independent film , whether the questionable content is violent or sexual in nature, and whether sexual content is heterosexual or homosexual and it centers on male or female pleasure. The film includes numerous clips from films rated NC-17 to illustrate content that had garnered

884-628: A number of films to illustrate its criticisms of the MPAA rating board. Dick had originally planned to license the clips from their owners, but discovered that studio licensing agreements would have prohibited him from using this material to criticize the entertainment industry. This prompted him, alongside prominent copyright attorney Michael C. Donaldson , to invoke the fair use doctrine, which permits limited use of copyrighted material to provide analysis and criticism of published works. The film's success using this tactic spurred interest in fair use, especially among documentary filmmakers. Before Dick sent

952-428: A resource to teach various principles . Documentary filmmakers have a responsibility to be truthful to their vision of the world without intentionally misrepresenting a topic. 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. Polish writer and filmmaker Bolesław Matuszewski

1020-514: A wordless meditation on wartime Britain. From 1982, the Qatsi trilogy and the similar Baraka could be described as visual tone poems, with music related to the images, but no spoken content. Koyaanisqatsi (part of the Qatsi trilogy ) consists primarily of slow motion and time-lapse photography of cities and many natural landscapes across the United States. Baraka tries to capture

1088-683: 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". Early documentary films, originally called " actuality films ", briefly lasted for one minute or less. Over time, documentaries have evolved to become longer in length and to include more categories. Some examples are educational , observational and docufiction . Documentaries are very informative , and are often used within schools as

1156-474: Is a separate area. Pathé was the best-known global manufacturer of such films in the early 20th century. A vivid example is Moscow Clad in Snow (1909). Biographical documentaries appeared during this time, such as the feature Eminescu-Veronica-Creangă (1914) on the relationship between the writers Mihai Eminescu , Veronica Micle and Ion Creangă (all deceased at the time of the production), released by

1224-419: Is an anti-Nazi color film created by Stefan Themerson which is both a documentary and an avant-garde film against war. It was one of the first anti-Nazi films in history. Cinéma vérité (or the closely related direct cinema ) was dependent on some technical advances to exist: light, quiet and reliable cameras, and portable sync sound. Cinéma vérité and similar documentary traditions can thus be seen, in

1292-410: Is most common in the production of television series since networks and channels often must be mindful of how viewers, critics, or censors will react to programming. There may be a fear of losing ratings, being punished by fines or otherwise, or having trouble finding advertisers. Concerns about running time may also cause scenes to be removed or shortened. In feature films, scenes may be cut to reduce

1360-492: Is the case with, for instance, Harry Potter and the Chamber of Secrets and Serenity . Scenes are often removed from films and television shows at the request of a studio or network, or to reduce running time, to improve narrative flow, or that some may be offensive. The studio or network planning to air or distribute it may be uncomfortable with a certain scene. It may ask for it be altered, removed, or replaced. That

1428-670: The Bucharest chapter of Pathé . Early color motion picture processes such as Kinemacolor (known for the feature With Our King and Queen Through India (1912)) and Prizma Color (known for Everywhere With Prizma (1919) and the five-reel feature Bali the Unknown (1921)) used travelogues to promote the new color processes. In contrast, Technicolor concentrated primarily on getting their process adopted by Hollywood studios for fiction feature films. Also during this period, Frank Hurley 's feature documentary film, South (1919) about

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1496-666: The Imperial Trans-Antarctic Expedition was released. The film documented the failed Antarctic expedition led by Ernest Shackleton in 1914. With Robert J. Flaherty 's Nanook of the North in 1922, documentary film embraced romanticism . Flaherty filmed a number of heavily staged romantic documentary films during this time period, often showing how his subjects would have lived 100 years earlier and not how they lived right then. For instance, in Nanook of

1564-884: The 1920s and 1930s. These films were particularly influenced by modern art , namely Cubism , Constructivism , and Impressionism . According to art historian and author Scott MacDonald , city symphony films can be described as, "An intersection between documentary and avant-garde film: an avant-doc "; however, A.L. Rees suggests regarding them as avant-garde films. Early titles produced within this genre include: Manhatta (New York; dir. Paul Strand , 1921); Rien que les heures /Nothing But The Hours ( France ; dir. Alberto Cavalcanti , 1926); Twenty Four Dollar Island (dir. Robert J. Flaherty , 1927); Moscow (dir. Mikhail Kaufman , 1927); Études sur Paris (dir. André Sauvage , 1928); The Bridge (1928) and Rain (1929), both by Joris Ivens ; São Paulo, Sinfonia da Metrópole (dir. Adalberto Kemeny , 1929), Berlin: Symphony of

1632-553: The Belgian coal mining region. Luis Buñuel directed a " surrealist " documentary Las Hurdes (1933). Pare Lorentz 's The Plow That Broke the Plains (1936) and The River (1938) and Willard Van Dyke 's The City (1939) are notable New Deal productions, each presenting complex combinations of social and ecological awareness, government propaganda, and leftist viewpoints. Frank Capra 's Why We Fight (1942–1944) series

1700-810: The Furnaces , from 1968), directed by Octavio Getino and Fernando Solanas , influenced a whole generation of filmmakers. Among the many political documentaries produced in the early 1970s was "Chile: A Special Report", public television's first in-depth expository look at the September 1973 overthrow of the Salvador Allende government in Chile by military leaders under Augusto Pinochet , produced by documentarians Ari Martinez and José Garcia. A June 2020 article in The New York Times reviewed

1768-504: The Galaxy 's feature film also featured not only a handful of regular deleted scenes but also two spoof "Really Deleted" scenes. YTV s ZAPX sometimes makes "deleted scenes" that are not genuine deleted scenes but random scenes of the movie with footage of the program's host, Simon, inserted into the clip, for that purpose. On the DVD for UHF , "Weird Al" Yankovic provides commentary of

1836-492: The MPAA and their ratings system." On Metacritic the film has a score of 75 based on reviews from 33 critics. The film received a wave of favorable coverage by major publications. The magazines Rolling Stone ("terrific...indispensable"), Entertainment Weekly ("irresistible"), and USA Today ("rated R for raves"), as well as critics such as Roger Ebert ("devastating") and Slate ' s Dana Stevens ("matter-of-factly presented, and thoroughly entertaining") praised

1904-574: The North , Flaherty did not allow his subjects to shoot a walrus with a nearby shotgun, but had them use a harpoon instead. Some of Flaherty's staging, such as building a roofless igloo for interior shots, was done to accommodate the filming technology of the time. Paramount Pictures tried to repeat the success of Flaherty's Nanook and Moana with two romanticized documentaries, Grass (1925) and Chang (1927), both directed by Merian C. Cooper and Ernest Schoedsack . The " city symphony " sub film genre consisted of avant-garde films during

1972-680: The North American " direct cinema " (or more accurately " cinéma direct "), pioneered by, among others, Canadians Michel Brault , Pierre Perrault and Allan King , and Americans Robert Drew , Richard Leacock , Frederick Wiseman and Albert and David Maysles . The directors of the movement take different viewpoints on their degree of involvement with their subjects. Kopple and Pennebaker, for instance, choose non-involvement (or at least no overt involvement), and Perrault, Rouch, Koenig, and Kroitor favor direct involvement or even provocation when they deem it necessary. The films Chronicle of

2040-465: The Penguins , and An Inconvenient Truth among the most prominent examples. Compared to dramatic narrative films, documentaries typically have far lower budgets which makes them attractive to film companies because even a limited theatrical release can be highly profitable. The nature of documentary films has expanded in the past 30 years from the cinéma vérité style introduced in the 1960s in which

2108-581: The Romanian professor Gheorghe Marinescu made several science films in his neurology clinic in Bucharest : Walking Troubles of Organic Hemiplegy (1898), The Walking Troubles of Organic Paraplegies (1899), A Case of Hysteric Hemiplegy Healed Through Hypnosis (1899), The Walking Troubles of Progressive Locomotion Ataxy (1900), and Illnesses of the Muscles (1901). All these short films have been preserved. The professor called his works "studies with

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2176-416: The ad break and to avoid exceeding the stricter running time limits. Though the quality of the initial and the final cuts of a film is subjective, a scene or version of a scene in a film may have an adverse effect on the film as a whole. It may slow the film down, provide unnecessary details or exposition, or even explain points that should be implied or said more subtly. It is common to remove such scenes at

2244-485: The advantage of documentaries lies in introducing new perspectives which may not be prevalent in traditional media such as written publications and school curricula. Documentary practice is the complex process of creating documentary projects. It refers to what people do with media devices, content, form, and production strategies to address the creative, ethical, and conceptual problems and choices that arise as they make documentaries. Documentary filmmaking can be used as

2312-474: 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. Scholar Betsy McLane asserted that documentaries are for filmmakers to convey their views about historical events, people, and places which they find significant. Therefore,

2380-498: The creation of a Film Archive to collect and keep safe visual materials. 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 principles of documentary were that cinema's potential for observing life could be exploited in

2448-429: The development of "reality television" that occasionally verges on the documentary but more often veers to the fictional or staged. The "making-of" documentary shows how a movie or a computer game was produced. Usually made for promotional purposes, it is closer to an advertisement than a classic documentary. Modern lightweight digital video cameras and computer-based editing have greatly aided documentary makers, as has

2516-407: The director. The commercial success of these documentaries may derive from this narrative shift in the documentary form, leading some critics to question whether such films can truly be called documentaries; critics sometimes refer to these works as " mondo films " or "docu-ganda." However, directorial manipulation of documentary subjects has been noted since the work of Flaherty, and may be endemic to

2584-452: The dramatic drop in equipment prices. The first film to take full advantage of this change was Martin Kunert and Eric Manes ' Voices of Iraq , where 150 DV cameras were sent to Iraq during the war and passed out to Iraqis to record themselves. Films in the documentary form without words have been made. Listen to Britain , directed by Humphrey Jennings and Stuart McAllister in 1942, is

2652-536: The early part of the 20th century. They were often referred to by distributors as "scenics". Scenics were among the most popular sort of films at the time. An important early film which moved beyond the concept of the scenic was In the Land of the Head Hunters (1914), which embraced primitivism and exoticism in a staged story presented as truthful re-enactments of the life of Native Americans . Contemplation

2720-412: The editing level, but they may be released on the home video release, as a bonus feature. There are at least a few examples, including a number of the deleted scenes on the DVD release of the sequel film Serenity (in fact, the audio commentary on the DVD's deleted scenes collection quite often mentions the plot or the tension being disrupted or slowed by including a scene or too much expositional as

2788-527: The entirety of a famous 1897 prize-fight on cinema screens across the United States. In May 1896, Bolesław Matuszewski recorded on film a few surgical operations in Warsaw and Saint Petersburg hospitals. In 1898, French surgeon Eugène-Louis Doyen invited Matuszewski and Clément Maurice to record his surgical operations. They started in Paris a series of surgical films sometime before July 1898. Until 1906,

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2856-499: The film for its novel techniques and unprecedented revelations that dispute longstanding MPAA statements about the ratings system. Some critics disliked the film. David Poland of Movie City News wrote: "Even though it speaks to a subject I think is very important—the failures of the rating system and, specifically the NC-17—the tough, smart research just isn't in the film." Documentary film A documentary film or documentary

2924-412: The film include: According to the investigation depicted in the film, the following people were, as of 2006, members of the MPAA rating board, also known as CARA (Classification and Rating Administration). (Included is the personal information the film revealed about them, such as their age, the age of their children, and how long they had been on the board. These details were significant in the context of

2992-474: The film quality may or may not be the same as in the rest of the film, but that may depend only on how much post-production editing was done. Additionally, deleted scenes of animated films may not be in the form of a fully animated scene but instead be included in the form of an animatic or a blooper form, as is the case with the deleted scenes on the DVD release of Pixar 's Toy Story and Finding Nemo . The DVD release for The Hitchhiker's Guide to

3060-592: The film significantly, the NC-17 could no longer be used for the finished film, which would need to be resubmitted to the MPAA to receive a rating of its own. It never was, however, so the film was released without a rating. After Sundance, the film went on to draw crowds at many other festivals, including South by Southwest and the Seattle International Film Festival , and received a theatrical release in fall 2006. Those interviewed in

3128-524: The film to the MPAA to receive a rating, he was assured that the tape he submitted would not be viewed for any purpose other than rating and that no copies would be made or distributed, but, on January 24, 2006, the MPAA admitted to making duplicates of the film contrary to Dick's wishes. However, they contended that doing so did not constitute copyright infringement or a violation of the Digital Millennium Copyright Act , and said

3196-452: The film's critique of the MPAA ratings process, as the MPAA had said (according to the film) that the review board was composed of average American parents, with children and teenagers between the ages of 5 and 17, who serve on the board for fewer than seven years.): According to the investigation depicted in the film, the following people were, as of 2006, members of the MPAA appeals board: This Film Is Not Yet Rated incorporates clips from

3264-520: The films was so vital that they were often given co-director credits. Famous cinéma vérité/direct cinema films include Les Raquetteurs , Showman , Salesman , Near Death , and The Children Were Watching . In the 1960s and 1970s, documentary film was often regarded as a political weapon against neocolonialism and capitalism in general, especially in Latin America, but also in a changing society. La Hora de los hornos ( The Hour of

3332-533: The form due to problematic ontological foundations. Documentary filmmakers are increasingly using social impact campaigns with their films. Social impact campaigns seek to leverage media projects by converting public awareness of social issues and causes into engagement and action, largely by offering the audience a way to get involved. Examples of such documentaries include Kony 2012 , Salam Neighbor , Gasland , Living on One Dollar , and Girl Rising . Although documentaries are financially more viable with

3400-466: The great pulse of humanity as it flocks and swarms in daily activity and religious ceremonies. Bodysong was made in 2003 and won a British Independent Film Award for "Best British Documentary." Deleted scene A related term is extended scene , the longer version of a scene that was shortened for the final version of the film. Often, extended scenes are included in collections of deleted scenes or are referred to as deleted scenes themselves, as

3468-694: The help of the cinematograph," and published the results, along with several consecutive frames, in issues of La Semaine Médicale magazine from Paris, between 1899 and 1902. In 1924, Auguste Lumière recognized the merits of Marinescu's science films: "I've seen your scientific reports about the usage of the cinematograph in studies of nervous illnesses, when I was still receiving La Semaine Médicale , but back then I had other concerns, which left me no spare time to begin biological studies. I must say I forgot those works and I am thankful to you that you reminded them to me. Unfortunately, not many scientists have followed your way." Travelogue films were very popular in

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3536-428: The human eye, and created a film philosophy from it. The newsreel tradition is important in documentary film. Newsreels at this time were sometimes staged but were usually re-enactments of events that had already happened, not attempts to steer events as they were in the process of happening. For instance, much of the battle footage from the early 20th century was staged; the cameramen would usually arrive on site after

3604-422: The identities of the ratings and appeals board members. Other revelations in the film include: The film sparked some interest in the press when the MPAA rated it NC-17 for "some graphic sexual content". Then, when it premiered at Sundance, it was discovered that the rating process for an early version of the film and Dick’s appeal of that rating were depicted in the finished film. As the additional footage changed

3672-422: The increasing popularity of the genre and the advent of the DVD, funding for documentary film production remains elusive. Within the past decade, the largest exhibition opportunities have emerged from within the broadcast market, making filmmakers beholden to the tastes and influences of the broadcasters who have become their largest funding source. Modern documentaries have some overlap with television forms, with

3740-665: The landmark 14-hour Eyes on the Prize : America's Civil Rights Years (1986 – Part 1 and 1989 – Part 2) by Henry Hampton, 4 Little Girls (1997) by Spike Lee , The Civil War by Ken Burns , and UNESCO-awarded independent film on slavery 500 Years Later , express not only a distinctive voice but also a perspective and point of views. Some films such as The Thin Blue Line by Errol Morris incorporate stylized re-enactments, and Michael Moore 's Roger & Me place far more interpretive control with

3808-404: The length of the film's final cut, sometimes in order to include more screenings of a film each day when released theatrically. In television serials, however, running time becomes an even greater concern because of the strict timeslot limitations, especially on channels supported by advertisements, and there may be only 20 minutes of actual show per half-hour timeslot. Depending on the station and

3876-620: The main reason for the scene's removal from the final theatrical cut. Another well known example is the cocoon sequence in the film Alien . The scene added a lot of information about the fate of several crew members and new information on the life cycle of the creature, but it was ultimately deleted, as it was thought to slow down and to disrupt the tension of the end of the film. Deleted or extended scenes may be in any of several different formats. They may or may not feature finished special effects (especially in science fiction and fantasy films in which visual effects are more expensive), and

3944-433: The particular format of the show, that may or may not include opening credits or closing credits; many ad-supported stations now "squish" the closing credits or force them into a split-screen to show more advertising. Most programs are in either a half-hour or a one-hour timeslot. That forces producers of television serials to break up the acts in a manner that will (hopefully) make the viewer want to continue watching after

4012-513: The political documentary And She Could Be Next , directed by Grace Lee and Marjan Safinia. The Times described the documentary not only as focusing on women in politics, but more specifically on women of color, their communities, and the significant changes they have wrought upon America. Box office analysts have noted that the documentary film genre has become increasingly successful in theatrical release with films such as Fahrenheit 9/11 , Super Size Me , Food, Inc. , Earth , March of

4080-407: The privacy of the raters themselves might have been violated by Dick in the course of making the film, but no complaint had been filed against him. Dick's lawyer, Michael Donaldson, requested that the MPAA destroy all copies of the film in their possession and notify him of who had seen the film and received copies. The DVD release of the film contains deleted scenes that show phone calls where Dick

4148-417: The rating. Therefore, the MPAA rated an early version of the film NC-17 due to "some graphic sexual content". Dick appealed this rating so he could chronicle both the rating and appeals process of the early version of the film in the final version, which, true to the title, is not rated. Much of the film's press coverage was devoted to Dick and his crew's use of private investigator Becky Altringer to unmask

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4216-530: The style include following a person during a crisis with a moving, often handheld, camera to capture more personal reactions. There are no sit-down interviews, and the shooting ratio (the amount of film shot to the finished product) is very high, often reaching 80 to one. From there, editors find and sculpt the work into a film. The editors of the movement – such as Werner Nold , Charlotte Zwerin , Muffie Meyer , Susan Froemke , and Ellen Hovde  – are often overlooked, but their input to

4284-432: The use of portable camera and sound equipment allowed an intimate relationship between filmmaker and subject. The line blurs between documentary and narrative and some works are very personal, such as Marlon Riggs 's Tongues Untied (1989) and Black Is...Black Ain't (1995), which mix expressive, poetic, and rhetorical elements and stresses subjectivities rather than historical materials. Historical documentaries, such as

4352-494: The year of his last film, Doyen recorded more than 60 operations. Doyen said that his first films taught him how to correct professional errors he had been unaware of. For scientific purposes, after 1906, Doyen combined 15 of his films into three compilations, two of which survive, the six-film series Extirpation des tumeurs encapsulées (1906), and the four-film Les Opérations sur la cavité crânienne (1911). These and five other of Doyen's films survive. Between July 1898 and 1901,

4420-687: Was a newsreel series in the United States, commissioned by the government to convince the U.S. public that it was time to go to war. Constance Bennett and her husband Henri de la Falaise produced two feature-length documentaries, Legong: Dance of the Virgins (1935) filmed in Bali , and Kilou the Killer Tiger (1936) filmed in Indochina . In Canada, the Film Board , set up by John Grierson,

4488-479: 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 ("A New Source of History") and La photographie animée ("Animated photography"). Both were published in 1898 in French and were among the earliest written works to consider the historical and documentary value of the film. Matuszewski is also among the first filmmakers to propose

4556-426: Was assured by representatives of the MPAA that no copy would be made, as well as the one during which he found out that a copy had indeed been created. On review aggregator website Rotten Tomatoes , the film has an approval rating of 85% based on 117 reviews, and an average rating of 7.20; the critics consensus calls it: "A fascinating and entertaining film that will open many eyes to the often-questioned tactics of

4624-610: Was set up for the same propaganda reasons. It also created newsreels that were seen by their national governments as legitimate counter-propaganda to the psychological warfare of Nazi Germany orchestrated by Joseph Goebbels . In Britain, a number of different filmmakers came together under John Grierson. They became known as the Documentary Film Movement . Grierson, Alberto Cavalcanti , Harry Watt , Basil Wright , and Humphrey Jennings amongst others succeeded in blending propaganda, information, and education with

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