Frederick Wiseman and Michael Moore Research Paper

Frederick Wiseman and Michael Moore - Rese foul Paper ExampleMichael Moore and Frederick Wiseman have been among the leading proponents of this genre, qualification their documentaries more commercially viable and theatrical-minded. Recent data from the British Film Institute indicates that documentaries released in the UK have increased in number every social class in the past two decades. While only four documentaries were released in 2001, ninety documentaries were released in 2012. Since Michael Moore won the Cannes Palme dor for Fahrenheit 9/11 in 2004, filmmakers arose to the fact that the documentary was commercially viable. This has been attributed to the dearth of realism that pushed a section of the audience towards authentic storytelling, whereas moving away from fictional plots and spectacular visuals. The expertness for documentaries to fill the gaps left by investigative journalism, which is another reason for the interest in documentaries, has been embraced by Micha el Moore and Frederick Wiseman in telling the story from their point of view. ... This allowed the filmmaker to tend away from voice-over narrations and embrace lived experience observation. This recording of the moment and its primacy changed documentary construction (Taylor 1). In his commitment as an observational filmmaker to represent real time, Wiseman presents scenes that appearance time as lived sans the straightforward nature of voice-overs. Wiseman turned to the Silent Ears continuity tradition, building a story that possesses a strong arch while also building scenes with resolution and continuity that push this story arc forward (Films 1). He uses the cutaway in High School to keep progression of a logical dialogue between Michael and Dr. Allen when Michael refuses to accept the punishment handed to him. Using cutaway to Allens ring, Wiseman is able to condense a hazard of this conversation. The condensing technique also happens between a couple of edits where Michael is seen standing before he is seen standing, almost inexplicably. While it is possible to see that Michael has changed his position by doing a camera analysis, the same cannot be deciphered from the conversation, as Wiseman is able to assure continuity. Wiseman links two separate moments for dramatic action and time, as good as to convey what he had understood from the different scenes (Films 1). Similarly, Wiseman uses the same technique in Domestic Violence in order to condense conversation and time. In this case, cutaway works to trim stories and shape them while also maintaining the meaning and impact that the filmmaker intended to convey (McGavin 1). He also uses this technique in order to surprise the audience. In Domestic Violence, particularly in the second half, he allows more time for story development with the camera focused in