宜人性促亲切介绍;然而，恶意评论的出现可能会引起警惕。在纪录片中，我们希望屏幕上的社会角色应该在这个意义上自我介绍，而不是去完成电影制作人创造的角色的工作，不管记录的演示是否会影响他们如何表现自己。在大多数科幻电影中，故事情节基本上是由制片人决定的，不管是否依赖于真实场景。《这是一个真实的故事》(This is a genuine story)可以毫不费力地成为一部虚构电影的序幕，它的情节取材于可核实的场合。纪录片讲述的故事来源于有记录的世界，但它仍然是从电影制作人的角度和声音来讲述的。这种牵涉程度，不是高反差的分割。《北方的纳努克》是目前在全球各大影院上映的最主要的长篇纪录片。从那时起，纪录片就源源不断地在影院上映。这部电影上映时，好评如潮，没有人认为它是一部纪录片。它只是在一个独立于任何人的类中。不管它是什么。弗莱赫蒂拥有曾经被称为“天真无邪的眼睛”，试图寻找“所有人共有的基本真理”。《北方的纳努克》(1922)，故事的主角显然是纳努克，一位勇敢的因纽特人先驱和不可思议的探索者。然而，纳努克在很大程度上是罗伯特·弗拉哈迪的发展。他的家庭单位与欧洲和美国的家庭结构比因纽特人的更接近。他的追逐策略在那部电影之前至少有30年的历史。这个故事是关于过去的生活方式的，纳努克将其概括为一项工作和角色的执行，而不是在录制季节的日常生活中自我介绍。这部电影可以标记为小说或纪录片。
Agreeableness prompts cordial introduction; however, the presentation of a snide comment may incite guardedness. In documentaries, we anticipate that social on-screen characters should introduce themselves in this sense, not play out the job of a character of the movie producer’s creating, regardless of whether the demonstration of recording impacts how they present themselves. In most fiction films the story is basically the producer’s regardless of whether dependent on real occasions. “This is a genuine story” can without much of stretch be the prologue to a fiction film that draws from verifiable occasions for its plot. The story a documentary tells originates from the recorded world yet it is still told from the movie producer’s point of view and in the producer’s voice. This involved degree, not a high contrast division. Nanook of the North is the main full-length documentary to keep running in theatres around the world. From that point forward there has been a constant flow of documentary films appeared in theatres. At the point when the film was discharged, it got rave reviews and nobody considered it a documentary. It just appeared to be in a class independent from anyone else. Despite everything it is. Flaherty had what was once called “an innocent eye” which attempted to find “the elemental truths that all men share” He was patrician, unusual and adamant and had the eye of a painter – the qualities of numerous great movie producers. Nanook of the North (1922), the story is apparently that of Nanook, a bold Inuit pioneer and incredible seeker. Yet, Nanook is to a substantial degree Robert Flaherty’s development. His family unit matched European and American family structure more than Inuit more distant families. His chasing strategies have a place with a period about at least 30 years preceding the time that film was made. The story is of a past lifestyle that Nanook epitomises in what adds up to a job and character execution in excess of an introduction of self in regular day to day existence at the season of recording. The film could be marked either fiction or documentary.
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