Documentary revival

下面为大家整理一篇优秀的assignment代写范文- Documentary revival，供大家参考学习，这篇论文讨论了纪录片的复苏。近年来纪录片出现了复苏的迹象，特别是在电影中。然而在增长的同时，纪录片在主流电视上的受欢迎度却相应地下降了。极限纪录片是过去十年在美国出现的一个新趋势，也成功转向了电影院。另外，另一个对纪录片有重大影响的是社交媒体的兴起，创造了新的需求，对世界新鲜及时的观点和更强的互动性。

In the past two decades in the UK, with the increasing popularity of documentary programs and other modern documentary forms, traditional documentaries have been under great pressure. Continuous changes in technology, funding and broadcasting platform have led to continuous changes in the living environment of documentaries. Despite the constant impact from audience demand and real programs, there are still signs of revival in contemporary British documentaries, which need to be constantly adjusted in the contemporary context.

Documentary is an important part of the field of English television, especially in the United Kingdom, the quality of documentary production has long been regarded as the gold standard of the television industry, by the praise of the world. In England, people always regard documentary as a distinctive form of TV documentary program. Most British people regard the documentary as an observation of modern society, which can provide a deep insight into the problems that the public attach importance to and pay attention to. Observational documentaries have a long history of making, and they don't reconstruct events, based on what's happening.

British audiences pursue the authenticity of documentaries. Once they find fictional events or assumptions in any form, they will have a bad reaction. This can be a good distinction between documentary and the general documentary program.

In the field of English TV, documentary has always been a popular program on TV. In 2012, there were 1,800 hours of documentaries commissioned or produced by the BBC alone. It cost 225 million pounds to make. In the past two decades, with the increasing popularity of documentary programs and other forms of modern documentaries, traditional documentaries have come under great pressure. Budget constraints have made it more difficult for studios to make documentaries, especially those that are shown on television for one-off use. Under the influence of TV documentary programs and other modern documentary forms, the boundary between traditional documentaries and other forms of documentary television programs gradually blurred, and documentaries began to focus on drama and use simple entertainment techniques to attract people. Now, traditional documentaries compete for money with many other forms of programming, which makes some documentary makers feel marginalized and means that the products they make have little to do with the television industry.

At the same time, social media has had a huge impact on audience expectations, topics, issues and the style of documentaries. With the development of digital technology, people with a certain technical level can make and edit documentaries at home. Thanks to technological advances, the equipment for making documentaries has gradually shifted to small digital cameras, reducing the need for manpower and costs. It also allows previously untouchable topics to be exposed to the public through video diaries and revealing films. The old ideas of documentary are being replaced by a broader definition.

The major British broadcasting companies -- BBC, ITELEVISION, Channel4 and FIVE -- all have documentaries as their main programming in the evening peak hours. However, their production methods are different, reflecting their different communication ideas.

The BBC, as a public-service broadcaster, is mainly funded by licence fees paid by television viewers, providing them with entertainment as well as enlightenment. ITELEVISION was funded entirely by advertising and aimed at the mass market. Channel4 and FIVE rely entirely on independent production companies and are funded by advertising, but their audiences are different. Channel4 focuses on creative or experimental programming, while FIVE takes a populist approach. In addition to these major broadcasters, there are many professional documentary channels, which either commission independent production companies to produce programs, or introduce existing documentaries for reruns. Many of the documentaries they air, whether on mainstream broadcasters or professional channels, are produced by independent production companies. These independent production companies are Optomen, and Freeman.

Tle Media. In 2011, independent productions produced 2,800 hours of documentary programmes for the BBC.

Diversified platforms and diversified modern media environment have a great impact on revenue stream. Both the BBC, which is under pressure from public membership fees, and commercial broadcasters, which are under pressure from advertising revenues, have been affected. Whereas traditional observational documentaries are expensive to make, contemporary forms of documentary are a cheaper way to pad a broadcaster's schedule. Both are cheaper than TV shows. One way to compare the cost of TELEVISION and documentary is a survey by British TELEVISION. TELEVISION's traditional documentary series, wolmstead house, is made in a high-security London prison and costs a quarter of a million pounds an episode. Channel4's How to look Good Naked - a leading fashion expert trying to convince women to feel Good about their body image - costs just 50,000 pounds per episode. By comparison, an episode of the historical drama series Downton Abbey can cost an estimated 1 million pounds.

In an increasingly commercial environment, serials are replacing the single-episode television series or the single-book format as the preferred format, as they are easier to produce and more likely to secure a loyal audience. I think the same thing happened in the documentary. For broadcasters or production companies, documentary television is cheaper to produce because it comes in the form of series. Another reason such shows cost less is that producers often don't have to actually pay someone, just set the scene and get the cameras rolling. Therefore, in the current situation, it is difficult to find producers for any one-off programs, especially for one-off documentaries.

Documentary programs originated in the United States and became must-see programs in the 1980s and 1990s. Although it is thought that documentary television is a relatively recent phenomenon, it can be traced back to the 1960s, such as candid camera, which used a hidden camera to record the public.

Documentary programs owe much to documentaries, which focus on ordinary people and the drama and sense of humor in their daily life. For example, big brother turned ordinary people into celebrities, and jamie's school dinners set out the role of British celebrities in changing government policy on school nutrition.

From the mid-1990s to 2000, documentary soap operas began to gain popularity among a large number of audiences. They adopted some elements of documentary programs, especially the attention to ordinary people, but transformed their forms to be more suitable for family viewing. This genre pioneered the bystander approach in films, emphasizing relationships and emotions rather than social issues. For example, driving school followed the life of trainee drivers in Britain and created one of the first stars of documentary programs -- Maureen rees. The inn, a documentary filmed in a hotel in Liverpool; Airport, a documentary based on London's heathrow airport. Documentary soap operas are of great significance to public broadcasters, especially the BBC, because they can receive high ratings and have convincing educational significance. Compared with TV series, the production cost is relatively low, which is about 1/5 of that of TV series per episode. But, faced with reconstructions and false accusations, documentary soap operas became increasingly controversial in the 1990s. Some even criticize the banality and voyeurism of such shows. Documentary soap opera is still a form of documentary TV programs, but it is likely to be surpassed by a new generation of documentary TV programs.

Documentary performances became popular in the 1990s. These shower-led shows often deal with lifestyle topics, including fashion, family, gardening, health and beauty, and psychological or physiological beauty is often at the heart of the show, as In Channel4's In Ten Years Younger, where individuals receive beauty treatments to change their looks and lives.

In the early 21st century, there was a trend in western reality TV programs to put ordinary people and celebrities in real life situations. By 2002, there were 65 nonfiction shows in the United States alone. Such shows are based on the concept of entertainment values and place people in situations involving personal conflicts from which viewers can watch their reactions. It is also cheap to produce, costing a third less per episode than a sitcom.

Due to its influence and popularity, big brother has become a classic of western documentary TV programs. The format was originally created in 1999 by Dutch entertainment company endermore and has since been adapted in many countries, including France, Germany, Italy, South Africa, Australia and the United States. It was launched on Channel4 in the UK in the summer of 2000. Despite its success, this format has always been controversial. Nonfiction programs are often criticized for blurring the line between fact and fiction. A television Show called The Big Donor Show, produced in 2007 by Mr. Endermo and The Dutch broadcaster, told of a woman with a terminal illness, lisa, who wanted advice from The audience and viewers in The studio to help her decide which of The three candidates to donate her kidney to after her death. It was later revealed that "lisa" was actually an actress, while the other three organ recipients were real patients. The prank was criticised for misleading the audience, although the show's creators claimed it was meant to draw attention to organ donors.

Few people question the profound influence of documentary programs on the style of western documentaries. According to some critics, although it blurs the line between fact and fiction, it pushes documentaries to the forefront of television schedules.

Since 2000, it has become increasingly difficult to determine what is and is not a documentary. According to the individual point of view, some programs can be said to be documentary television programs, can also be said to be a documentary. The author thinks that in the public opinion, this point is regarded as a negative turn, which squeezes the time of making serious documentaries and damages the image of real films. But. I think these claims are rooted in our history. Throughout history, we have been particularly reluctant to view real movie images as entertainment. We tend to view novels as entertainment, but the truth is that for some serious purposes, these boundaries tend to blur in the course of centuries.

Despite the blurring of the documentary line, the experience of the audience in the new wave of conceived and written documentary television shows is also enough to distinguish the real from the fictional. In these shows, such as Made in Chelsea, the scenes are adapted and designed. "Made in Chelsea", broadcast in Britain and America, is a made-up television show set in an affluent part of London, in which actors perform made-up versions of themselves. Audiences today are very experienced and can tell which documentaries are clearly trying to convey truth and which are more constructed.

In the 21st century, classic documentaries have been buffeted by many other types of competition, with some even claiming that they are dead compared to other, more user-friendly, real-life TV shows. As early as 1990, there were reports that TV documentaries would die out in the west. Documentary soap operas became popular in the 1990s, with lower production costs and a wider audience. Some of the more observational and polemical documentaries produced by creative producers such as Nick Broomfield have been squeezed by the pressure of channel ratings. Over time, though, this type of television program has withstood multiple crises and been re-created many times under the multiple influences of increased commercialization, technological progress and declining budgets. As Peter Moore, senior responsible editor of documentaries of Channel4, said in 1997, documentaries are in a state of crisis for a long time. Therefore, documentary producers with critical consciousness apply their critical abilities to this type of program itself, and they are so creative that documentaries can survive.

Tony Dowmunt, a senior lecturer in communications engineering at goldsmiths, university of London, says it is wrong to talk about documentaries dying out or being replaced by documentary television. Although securing funding for social documentaries has been difficult, and more so now, the genre is reappearing in other public Spaces: it is proving remarkably resilient in one form or another. It appeared again in the movie, on the Internet, and in informal documentary showing a lot of places, from the network to the small screen device, compared with the documentary series, the mainstream television, money, especially a one-off documentary money is less close to zero, but it is in the movie, network and informal screening place is full of vitality.

Dumont sees signs of a revival in documentaries in recent years, particularly in films. At the same time, however, the popularity of documentaries on mainstream TV has declined accordingly. Among the documentaries that have managed to make the transition to the big screen is 2002 documentary Bowling for Columbine, about a school shooting in the United States, which has been a huge box office hit with more than $50 million worldwide. Written, directed and produced by Michael Moore, the film explores the causes of the massacre and looks at American gun culture. Extreme documentary is a new trend that has emerged in the United States in the past decade, and it has also made a successful transition to the cinema. Typical of this genre is the trailblazing super-sizeme, in which director Morgan Spurlock challenges himself to eat nothing but three meals a day at McDonald's for a month. As a result, he gained 25 pounds and his doctor advised him to stop the diet or risk liver disease. Other producers have taken on similar challenges, such as trying to film in the world's largest ocean wave.

Another big influence on documentaries over the past decade has been the rise of social media, which has created new demands: a fresh and timely view of the world and greater interactivity. Social media has had a huge impact on traditional radio, and we are in an era when the built-in camera in mobile phones allows amateur footage to be transmitted instantaneously. Media freedom has also brought new voices to television. People who want to tell stories now have the technology to make them cheaply and reach a wider audience. People can research, shoot and edit their own films using a digital camera and laptop for a fraction of the time and cost of traditional documentaries.

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