Mockumentaries And Documentaries

Mockumentaries And Documentaries A documentary film is a film that shows true-life histories or current event exposure. A documentary film often records the truth as well as reality. In order to have the audiences attention, a documentary film also contains some entertainment value while educating the audience about the topic. Documentary is a discursive structure, which creates style of immediacy and truth, using photographic technology in order to present first-hand experience and piece of information. In addition, documentaries often take care of particular cultures, nations, ethnic groups, or regions. Documentary needs fictive element to make it appealing. Salaam Cinema and Cannibal Tour were the examples of documentary films. As for mockumentary, it is defined as a type of films that reproduces the stylistic elements of documentaries by using filming techniques. Mockumentary is a television program or movie captured in the way of a documentary film is captured but it contains fictitious and frequently mocking s ubject matter that presents in a non-fiction or documentary format. It mocks the basic characteristic and argues that documentaries try to claim. There are similarities between documentaries and mockumentaries as mockumentaries use all the documentaries codes and conventions, such as that turn a mockumentary into a documentary, be determined to show the film as a documentary even though it is not a documentary. A mockumentary is successful when it is able to combine history and present through a false lens as well as leading the audience to doubt the reality. Mockumentaries have been made to the audience to challenge the audiences beliefs as well as the directors imagination. Forgotten Silver and Quarantine are the examples of mockumentary films. Forgotten Silver (1995), by Costa Botes and Peter Jackson, is a mockumentary which records the process of life of a silent filmmaker from New Zealand, Colin McKenzie as well as his incredible progress that were lost since olden times. The film offers an interesting and entertaining take on the issues of film reality against film fantasy as well as backups eyewitness testimony or interview sessions including films and photographs. Therefore, it seemed real. It claims that this mockumentary was real because it uses all the documentary codes and conventions. Mockumentaries use the aesthetics of documentary in order to undermine any claims to truth. (2001, p.46). It captures and read the complication of real life. Mock-documentaries tend to assume an archetypal generic form rather than recognize the complexities of the genre (Roscoe, Hight, 2001, p.50). Besides, Forgotten Silver reminds us that the event actually happened as it has recorded everything in it. In Forgotten Silver, it uses interview to authenticate views. The interviewees included Jonathon Morris (archiviste), Costa Botes (Realisateur), Harvey Weinstein (Miramax Film), Leonard Maltin (Historian), Sam Neil (Actor/Realisateur), and May Belle (Research Assistant) as his wife. Film reality and film fantasy are supported by the use of real footage. Forgotten Silver uses archive footage as another documentary code to add authenticity, such as landing at Anzac Cove war footage and New Zealand City footage. Camera effect such as slow zooms has been used in Forgotten Silver in order to show the audiences that there are no exaggerate actions. Besides, pictures of Colin McKenzie throughout whole film, his pictures taken throughout his life, pictures with mother, Colin McKenzies recreated city, pictures of documents such as Deputation from the New Zealand Communist Party. Old video clips have been showed in the film such as Richard Pearses flying video, Salome John the Baptist (casting), Gallipoli Footage (Brook e McKenzie 1915), Stan the Man (Stan Wilson) spontaneous shots by Colin McKenzie. In addition, there were newspaper shots such as Richard Pearses flying video and Incredible Taking Picture Sensation. Other than that, current videos such as his journey to discover the recreated city, discovery of Salomes production storeroom, Alexandra Nevsky Attachà © Cultural de Russie prove the signed contract between McKenzie. Mockumentary filmmakers wish to engage the audience in discourses about fact and fiction. As Roscoe and Hight put it Mock documentaries foreground their fictionality, their intention is to play with, undermine or challenge documentary, rather than to seek validity through an association with the genre. (2001, p.46) Another documentary code used in Forgotten Silver is the use of texts or graphics. The names, title, year of each interviewee as well as the name, year of each video have been showed in the film. Realism in any representation, like documentaries, has also to be a construction as it is impossible to achieve a perfect match between events in a historical world and the texts that represents them (Kilborn and Izod, 1997. p40). Effects such as zoom in and highlights the important wordings on pictures, documents and newspapers have been used. Reconstruction, a re-enactment of another time or place for a different audience, a graphing of history in and through the cinematic image and taped sound, onto the present. (Rabinowitz:1994:16). This film has utilised natural sound such as old film rolling sounds and movie original background sound in The Natural Season 1908, Stan the Man and Stable Stumbles. Non-digetic sound, is defined as the background music when narrator narrates a story, such a s a dramatic background music as narrator narrates a sad scene. This has been found in Forgotten Silver as the background music for pictures such as celebration sounds when the war ended. Forgotten Silver has used reconstructions or set-ups to convey realism as another documentary code, such as old films, Made-up of McKenzies Salome production storeroom, old Egyptian statues, hand-made costumes and crafted swords and shields for Salome shooting. Mockumentaries also deconstruct the socio political stance that documentaries tend to adopt in relation to the socio historical world (Roscoe and Hight, 2001).With all the documentaries codes and conventions used in Forgotten Silver, has made the film real to be believed by the audiences. For examples, Richard Pearses flying video, Colin McKenzies first alleged talking movie and color film as well as a discovered city in West Coast. However, it was a hoax, said by the Wellington filmmaker, Costa Botes, which is also the director of Forgott en Silver, established that it was a documentary-style programme that he co-directed with the filmmaker Peter Jackson. In addition, McKenzie was a pure fiction. Even though it was with proves from the interviews by local celebrities and film experts as well as a mockumentary adopts documentarys behaviour and codes. Quarantine (2008), directed by John Erick Dowdle, casted by Angela Vidal as a reporter for the tv show Night Shift, was on duty to spend an evening with the Los Angeles Fire Department. Therefore, she and her cameraman, Scott Percival, join the fire-fighters George and Jake to an apartment building. This film is a remake film of the Spanish Horror film REC. The film was about the owner was accused with investigating and segregating a suspected Armageddon virus for a faction. Unfortunately, the virus lost control and transform into infectious virus, which infects the man. It is the reason why the people in the building were infected. The whole building has been closed for quarantine. This mockumentary was a hoax as there are no bloodthirsty savages in the world. It was just an imagination of the director challenging the beliefs of the audiences. Footage could be seen in Quarantine as there are few scenes have been zoomed in, such as when the bloodthirsty savages are attacking human. L ightweight camera has been used in Quarantine, which has similarity with Forgotten Silver. However, there is one dissimilarity, Quarantine did not use background music, and it uses sound effects. Voice-Over has been used in the film while capturing the subjects in front by Angela. Quarantine seemed to be real as it uses documentary codes. Interviews have been made throughout the whole movie. For example, a quick interview sessions with the fire-fighters George and Jake before heading to the infected apartment. Interviews have made the film more real. The mock documentary form seems to be more typically used by film makers to parody aspects of popular culture, particularly media culture, than to encourage viewers to question their adherence to assumptions and expectations attached to documentaries. (Roscoe and Hight, 2001. p.161). In Forgotten Silver and Quarantine, they both have similarities with the documentary film, Cannibal Tours (1988), filmed by Australian director and cinematographer Dennis ORourke. They have used the skill of archival footages as they captured real images by using lightweight camera. . For that reason, it brings the audience nearer to reality as well as truth. Other than that, interview sessions and images captured with lightweight camera were done. In Cannibal Tours, there are interview sessions with the native and the tourists. It uses real footages to explain the history of how the Germans visited there before. Filmmakers have considered the problem of subjectivity and objectivity to be red herrings where they record about native peoples story. We realized that the most important thing was not the film and the information in it so much as the way this information was debated. One of the aims of such films is to provide the occasion for people to find themselves and speak about thei r own problems. The projection becomes the place where people talk and develop their awareness. (Chanan 1997:373). Documentaries hold a privileged position within society, a position maintained by documentarys claim that it can present the most accurate and truthful portrayal of the socio historical worldà ¢Ã¢â€š ¬Ã‚ ¦. They attempt to create a position for the audience in which we are encouraged to take up unproblematically the truth claims offered to us (R and H:2001, p.6, 23). Even though mockumentaries have documentary codes, it is still a fictional documentary, which is also called as a hoax. A documentarys interviews are based on the interviewees true opinions whereas a mockumentarys interviews are based on ready-made scripts. Mockumentaries cannot be viewed as real as everything is ready-made. It is not real images such as documentaries. In Salaam Cinema (1994), by Mohsen Makhmalbaf, a film about people who would like to become famous. It is real as it captures the crowd by using lightweight camera. The crews were captured in the frame, not behind the camera. A handheld camera work and head shots convey a realistic sense of an historical truth. For example, the scene where people were trampled in a way it was real because people will do that but in salaam cinema, it was provoked. The usage of handheld camera could be seen in Quarantine to convey realism as it captures live images. Mockumentaries manipulates the truth in a documentary manner. It is used to convey a constructed or ones imagined view. In spite of the similarities in terms of its documentary codes, a mockumentary can never equal to a documentary. It is still, a fictional documentary. The whole agenda and practice of a mockumentary is to edit certain parts of a footage or image to present the constructed message and omit the parts where they are not coherent with the constructed message, re-make artifacts and a set of actors to be interviewed based on ready-made scripts. Hence, a documentary is to tell its audiences of the truth and findings while a mockumentary tries to manipulate a belief and convey an imagined view. The emerging of mockumentaries in our recent days of film industry has raped the pride of a documentary. Documentaries now are less promising compared to the olden days where there are no mockumentaries. It ripped off the value in researching and producing of a documentary as it leav es documentary in shades of doubts by the viewers. It is now hard to authenticate a documentary and disproof a mockumentary. Some critics claim that mockumentaries are a waste of time and resources as in the end of a day, the viewers gain nothing but a bad joke. However, the decision lies in the viewers ability to ensure clear validity of what they watch and what they believe. After all; a mockumentary is only an illusion where it manipulates within the premise of a viewers belief.

Topic Paper

Since most managers' lack specialized knowledge, like the latest laws and rules, it is very risky to not have HER professionals. According to the authors of all three of the articles, HER should be adding value and causing a good business flow by being a business partner to an organization. HER professionals should be pin-pointing critical points of the business where the strategy succeeds or fails, and providing relevant talent solutions. HER should be a business partner to a company and not Just a department. According to Hammond, there are four reasons why HER is â€Å"uniquely unsuited† to do what it should be doing.First, HER doesn't tend to hire a lot of independent thinkers interested in business or people who stand up as moral compasses. Second, HER has a tendency to measure amount of input, but not output. For example, they know the amount of training that each employee has but do not know how that training has positively influenced the business decisions of that empl oyee. Third, HER forfeits long-term value for short-term cost efficiency. Lastly, HER does not have its ear to top management. According to Muddy, HER can be more impacting within organizations by simply asking ‘does it cause friction in the business r does it create flow?Hammond believes that the HER function of companies like Yahoo, Hunter Douglas, and Cardinal Health are bringing HER into the realm of business strategy. These companies are truly making HER a business partner. Hammond believes that these companies are doing it right by trusting and listening to HER in order to properly assess what the company needs and then finding the talent to fill that hole. The companies have also done right by properly identifying HER as an important part of their company. From these three articles I can draw that HER s a department with a lot of problems.Some companies have not used HER to its full potential. HER sometimes is valued so little that even the people hired into this functi on of the company can't execute the plans that are put into place. HER is under- used and under-appreciated in most of today's companies. In my opinion the role of HER is to keep employees happy, and to hire and train employees that will be beneficial to their team. Also, in my opinion the importance of HER is very high because without a strong HER department your employees will end up being unhappy or misused.

The Fundamentals of Ford Foundation Fellowship Font Essay Samples Revealed

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Major General Sir Isaac Brock in the War of 1812

The eighth son of a middle class family, Isaac Brock was born in St. Peter Port, Guernsey on October 6, 1769 to John Brock, formerly of the Royal Navy, and Elizabeth de Lisle. Though a strong student, his formal education was brief and included schooling in Southampton and Rotterdam. Appreciative of education and learning, he spent much of his later life working to improve his knowledge. During his early years, Brock also became known as a strong athlete who was particularly gifted at boxer and swimming. Early Service At the age of fifteen, Brock decided to pursue a military career and on March 8, 1785 purchased a commission as an ensign in the 8th Regiment of Foot. Joining his brother in the regiment, he proved a capable soldier and in 1790 was able to purchase a promotion to lieutenant. In this role he worked hard to raise his own company of soldiers and was finally successful a year later. Promoted to captain on January 27, 1791, he received command of the independent company that he had created. Shortly thereafter, Brock and his men were transferred to the 49th Regiment of Foot. In his early days with the regiment, he earned the respect of his fellow officers when he stood up to another officer who was a bully and prone to challenging others to duels. After a sojourn with the regiment to the Caribbean during which he fell critically ill, Brock returned to Britain in 1793 and was assigned to recruiting duty. Two years later he purchased a commission as a major before rejoining the 49th in 1796. In October 1797, Brock benefited when his superior was compelled to leave the service or face a court-martial. As a result, Brock was able to purchase the lieutenant colonelcy of the regiment at a reduced price. Fighting in Europe In 1798, Brock became the effective commander of the regiment with the retirement of Lieutenant Colonel Frederick Keppel. The following year, Brocks command received orders to join Lieutenant General Sir Ralph Abercrombys expedition against the Batavian Republic. Brock first saw combat at the Battle of Krabbendam on September 10, 1799, though the regiment was not heavily engaged in the fighting. A month later, he distinguished himself at the Battle of Egmont-op-Zee while fighting under Major General Sir John Moore.   Advancing over difficult terrain outside of the town, the 49th and British forces were under constant fire from French sharpshooters. In the course of the engagement, Brock was struck in the throat by a spent musket ball but quickly recovered to continue leading his men. Writing of the incident, commented, I got knocked down shortly after the enemy began to retreat, but never quitted the field, and returned to my duty in less than half an hour. Two years later, Brock and his men embarked aboard Captain Thomas Fremantles HMS Ganges (74 guns) for operations against the Danes and were present at the Battle of Copenhagen. Originally brought on board for use in assaulting the Danish forts around the city, Brocks men were not needed in the wake of Vice Admiral Lord Horatio Nelsons victory. Assignment to Canada With fighting quieting in Europe, the 49th was transferred to Canada in 1802. Arriving, he was initially assigned to Montreal where he was forced to deal with problems of desertion. On one occasion, he violated the American border to recover a group of deserters. Brocks early days in Canada also saw him prevent a mutiny at Fort George. Having received word that members of the garrison intended to imprison their officers before fleeing to the United States, he made an immediate visit to the post and had the ringleaders arrested. Promoted to colonel in October 1805, he took a brief leave to Britain that winter. Preparing for War With tensions between the United States and Britain rising, Brock began efforts to improve Canadas defenses. To this end he oversaw improvements to the fortifications at Quebec and improved the Provincial Marine which was responsible for transporting troops and supplies on the Great Lakes. Though appointed brigadier general in 1807 by Governor General Sir James Henry Craig, Brock was frustrated by a lack of supplies and support. This feeling was compounded by a general unhappiness with being posted to Canada when his comrades in Europe were gaining glory by fighting Napoleon. Wishing to return to Europe, he sent several requests for reassignment. In 1810, Brock was given command of all British force in Upper Canada. The following June saw him promoted to major general and with the departure of Lieutenant Governor Francis Gore that October, he was made the administrator for Upper Canada giving him civil as well as military powers. In this role he worked to alter the militia act to expand his forces and began building relationships with Native American leaders such as the Shawnee chief Tecumseh. Finally granted permission to return to Europe in 1812, he declined as war was looming. The War of 1812 Begins With the outbreak of the War of 1812 that June, Brock felt that British military fortunes were bleak. In Upper Canada, he possessed only 1,200 regulars which were supported by around 11,000 militia. As he doubted the loyalty of many Canadians, he believed only around 4,000 of the latter group would be willing to fight. Despite this outlook, Brock quickly sent word to Captain Charles Roberts at St. John Island in Lake Huron to move against nearby Fort Mackinac at his discretion. Roberts succeeded in capturing the American fort which aided in gaining support from the Native Americans. Triumph at Detroit Wishing to build on this success, Brock was thwarted by Governor General George Prevost who desired a purely defensive approach. On July 12, an American force led by Major General William Hull moved from Detroit into Canada. Though the Americans quickly withdrew to Detroit, the incursion provided Brock with justification for going on the offensive. Moving with around 300 regulars and 400 militia, Brock reached Amherstburg on August 13 where he was joined by Tecumseh and approximately 600-800 Native Americans. As British forces had succeeded in capturing Hulls correspondence, Brock was aware that the Americans were short on supplies and scared of attacks by the Native Americans. Despite being badly outnumbered, Brock emplaced artillery on the Canadian side of the Detroit River and began bombarding Fort Detroit. He also employed a variety of tricks to convince Hull that his force was larger than it was, while also parading his Native American allies to induce terror. On August 15, Brock demanded that Hull surrender. This was initially refused and Brock prepared to lay siege to the fort. Continuing his various ruses, he was surprised the next day when the elderly Hull agreed to turn over the garrison. A stunning victory, the fall of Detroit secured that area of the frontier and saw the British capture a large supply of weapons which were needed for arming the Canadian militia. Death at Queenston Heights That fall Brock was forced to race east as an American army under Major General Stephen van Rensselaer threatened to invade across the Niagara River. On October 13, the Americans opened the Battle of Queenston Heights when they began shifting troops across the river. Fighting their way ashore they moved against a British artillery position on the heights. Arriving on the scene, Brock was forced to flee when American troops overran the position. Sending a message to Major General Roger Hale Sheaffe at Fort George to bring reinforcements, Brock began rallying British troops in the area to retake the heights. Leading forward two companies of the 49th and two companies of York militia, Brock charged up the heights assisted by aide-de-camp Lieutenant Colonel John Macdonell. In the attack, Brock was struck in the chest and killed. Sheaffe later arrived and fought the battle to a victorious conclusion. In the wake of his death, over 5,000 attended his funeral and his body was buried at Fort George. His remains were later moved in 1824 to a monument in his honor that was constructed on Queenston Heights. Following damage to the monument in 1840, they were shifted to a larger monument on the same site in the 1850s.