Titlebook: Documentary Screens; Nonfiction Film and Keith Beattie Textbook 2004Latest edition The Editor(s) (if applicable) and The Author(s) 2004 ex

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The Burning Question: The Future of Documentary,roducers, directors and editors to answer a number of questions, among them, ‘What is the future of the documentary?’ The inquiry, undertaken in a chapter titled ‘The Burning Question’, provided a range of responses, including observations on documentary cinema, the fate of documentaries commissione

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Conclusion, can note that it was always this way. As Chapter 1 pointed out, the tradition of documentary filmmaking inaugurated by Grierson was subject to financial restrictions imposed by sponsorship. Grierson acknowledged the effect of sponsorship on developing forms of documentary representation when he obs

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Marleen Rensen,Christopher Wiley methods, techniques, and most notably in Grierson’s case, institutional arrangements and a body of theoretical writing that in varying ways, formed the bases of documentary as it continues to be practiced in numerous countries worldwide.

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Conclusion, sober documentary works. In light of this history it is, then, ironic that the necessity to deliver audiences and maintain revenue returns from advertisers and sponsors in the era of increasingly commercialized television has resulted in forms of popular factual representation which have refigured documentary representation.

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,‘Believe Me, I’m of the World’: Documentary Representation,dded within the account of physical reality is a claim or assertion at the centre of all non-fictional representation, namely, that a documentary depiction of the socio-historical world is factual and truthful.