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Abstract

This dissertation will aim to explore the various debates which surround the notion of ‘truth’ in documentary cinema, whilst looking at how the genre has changed and adapted over time. Looking at various films and directors in chronological order (from 1924 through to 2015) I will consider both the points where digital documentary and technology began to affect documentaries and whether the genre can still be categorised into Bill Nichols’ theory of the ‘modes of documentary’ due to these developments. I used a literature based research strategy to help me examine these debates, looking at material from books, journals, online articles and directors interviews. To this end, I was able to compare and contrast academic theory and research and apply them to my chosen texts, using textual analysis to strengthen my arguments. The discoveries that I have made have helped me to draw a conclusion that the notion of ‘truth’ is inevitably difficult to ever convey entirely. When considering the process of filmmaking too, it is often (if not always) a collaborative project. Because of this, the likelihood of the ‘truth’ being interfered with to some extent is unavoidable. A key finding in this dissertation is that a filmmakers style and intentions when making a film may ultimately have an effect on how ‘truthful’ it is, and that this needs to be taken into consideration. More broadly I argue that digital films embrace a hybridity of genre which further problematizes notions of truth and authenticity in documentary.

Course: Film Industries - BA - C2651S

Date Deposited: 2020-10-28

URI/permalink: https://library.port.ac.uk/dissert/dis13591.html