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Seminario Sobre Documental Interactivo SEMINARIO SOBRE DOCUMENTAL INTERACTIVO Prof. Arnau Gifreu La Casa del Cine/Curso 2009-2010 DISTINCIÓN Y ESTUDIO DE GENEROS SEGUN XAVIER BERENGUER: Documentales antropológicos expositivos: - Robert Flaherty - John Grierson Documentales antropológicos reflexivos: - Dziga Vertov Documentales antropológicos de observación: - Leacok - Pennebaker Documentals antropológicos reactivos: - Michael Moore Documentales fuera de linea: -The day alter trinity (J. Robert -Oppenheimer) -Immemory (Chris Marker) -Ann Frank House Documentales en linea: -J.B.Wiesner TIPOLOGIA DEL DOCUMENTAL SEGUN BILL NICHOLS 1. EXPOSITIVO 2. DE OBSERVACIÓN 3. INTERACTIVO 4. REFLEXIVO 1. DOCUMENTALES ANTROPOLÓGICOS EXPOSITIVOS: - ROBERT FLAHERTY - JOHN GRIERSON 2. DOCUMENTALES ANTROPOLÓGICOS DE OBSERVACIÓN: - LEACOK - PENNEBAKER 3. DOCUMENTALES ANTROPOLÓGICOS REFLEXIVOS: - DZIGA VERTOV 4. DOCUMENTALES ANTROPOLÓGICOS REACTIVOS: MICHAEL MOORE EVOLVING DOCUMENTARY GLORIANNA DAVENPORT MICHAEL MURTANGH Enlaces de interés: Pàgines de Xavier Berenguer – Documental Interactiu www.boschuniverse.org www.artmuseum.net www.theyrule.net www.becomingwoman.org www.pbs.org/wgbh/nova/galileo www.nostranau.net www.abc.net.au/longjourney/australia www.witness.org www.oneworld.net 1. DOCUMENTALES ANTROPOLÓGICOS EXPOSITIVOS: - ROBERT FLAHERTY - JOHN GRIERSON ROBERT FLAHERTY (1884 – 1951) El documental explorador: Flaherty Robert Joseph Flaherty Nació en Iron Mountain, Michigan. un 16 de Febrero de 1884 y murió en Dummerston Vt. un 23 de Julio de 1951). Era hijo de un Ingeniero de minas y desde pequeño tuvo mucha relación con mineros e indios. Su padre se hizo explorador de nuevas tierras y a veces llevaba a Robert en sus exploraciones. En 1910 Flaherty inició su trayectoria de explorador en busca de yacimientos y en 1913 la persona que lo contrataba le sugirió que grabase su expedición. Así fue. No sin antes asistir a un curso de filmación que duró tres semanas, pues Flaherty no sabía nada de cinematografía. Lo que empezó siendo una casualidad se convirtió en verdadera afición. En 1916 mientras realizaba su primera película la fatalidad hizo que un cigarrillo incendiara todos los negativos filmados durante esos tres años de expediciones. Flaherty casi pierde su vida al tratar de salvarlos. Así pues, sin negativos y poco satisfecho con la copia que había realizado ("se trataba de escenas sueltas , sin relación entre sí, sin hilo conductor") decidió concentrarse en la vida de un esquimal y su familia y vover a grabar. Después de reunir los fondos necesarios e ir a la costa nororiental de la bahía Hudson comenzó a filmar en 1920, en primavera de 1921 reveló allí mismo el material, en verano volvió a casa y en invierno acabó el montaje. A principios de 1922 Nanook, el esquimal estaba lista para su distribución. La Paramount al igual que otras cuatro grandes compañías cinematográficas lo rechazaron por considerar poco comercial la película. Fue la organización Francesa Pathé quien la distribuyó el 11 de Junio de 1922 con un éxito inmediato. En 1964 en el festival de Mannheim los autores y autoras de documentales seleccionaron a Nanook, el esquimal como el mejor documental de todos los tiempos. Después del éxito de Nanook, la Paramount confió a Flaherty un proyecto sin límite de presupuesto. Se convetiría en Moana, documental sobre las gentes de Samoa un archipielago del Pacífico. Se presentó en 1926 y fue un fracaso taquillero. La cámara sirve a Flaherty para informar sobre la vida de otras culturas, intentando reflejar sus aspiraciones y cultura reales. Para Flaherty se trata de películas rodadas teniendo como actores/aztrices a sus habitantes.“Si se trata de filmar a gente distinta a uno, es imposible que actores o actrizes pueda reflejar con todo su histrionismo profesional la vida al natural de los moradores, que pueden interpretar sus propias vidas sin interés comercial”. Así pues dedicaba la mayor parte del tiempo de producción a encontrar a los personajes que mejor van a poder interpretar los papeles del filme. “Si se trata de filmar a gente distinta a uno, es imposible que actores o actrizes pueda reflejar con todo su histrionismo profesional la vida al natural de los moradores, que pueden interpretar sus propias vidas sin interés comercial” "No me propongo hacer películas sobre lo que el hombre blanco ha hecho de los pueblos primitivos...Lo que deseo mostrar es el antiguo carácter majestuoso de estas personas mientras ello sea posible, antes de que el hombre blanco destruya no sólo su carácter sino también el pueblo mismo. El vivo deseo que tenía de hacer Nanook (documental sobre un cazador y su familia del pueblo esquimal (Itivimuit) se debía a mi estima por esa gente, a la admiración por ella; yo deseaba contarles a los demás algo sobre ese pueblo." FILMOGRAFÍA DE ROBERT FLAHERTY 1918.- Eskimo 1912-22.- Nanuk, el esquimal , (Nanook of the North) 1912-22.- The Pottery Maker/Story of a Potter 1926.- Moana (Moana) 1927.- The Twenty Four Dollar Island 1928.- Sombras blancas en los Mares del Sur (White Shadows of the South Seas) 1931.- Tabu: a story of the south seas ( codirigida con: F.W. Murnau) 1933.- Industrial Britain 1932-34.- Hombres de Arán (Men of Aran) 1937.- Sabú (Elephant Boy, CO: Z. Korda) 1939-42.- The Land 1943.- Gift of Green 1946.- Guernica 1948.- Louisiana Story 1937-50.- The Titan: Story of Michelangelo JOHN GRIERSON (1898 – 1972) El documental social: Grierson John Grierson (1898-1972) y la escuela británica consideraban el documental como una especie de púlpito desde donde hay que animar una reforma social al exponer, no sólo los problemas que enfrenta al ser humano frente a la naturaleza, sino los que vive en sociedad por los efectos injustos del sistema económico capitalista. Pensaban que la tarea primordial del documentalista consistía en encontrar los medios que le permitan aprovechar el dominio que posee de su arte persuasivo de la multitud, para enfrentar al ser humano con sus propios problemas, trabajos y condiciones. Productor, director, teórico y fundador del movimiento documentalista Escocés. (Born 26 April 1898, Kilmadock, Stirlingshire, Scotland, UK.; died 19 February 1972, Bath, Somerset, England, UK. [now Bath andNorth East Somerset, England, UK). Nació en el seno de una familia de maestros presbiterianos y socializantes. Estudió Filosofía en la Universidad de Glasgow y durante la Primera Guerra Mundial sirvió en la marina. En 1924 partió hacia Estados Unidos con una beca de lla Fundación Rockefeller y durante tres años estudió prensa, radio, televisión y cine, impactado por el efecto que este tenía sobre el público y por el sensacionalismo que practicaba la prensa de William Hearst. Analizando la forma de construcción de la noticia, llegó a definir al documental como "el tratamiento creador de la actualidad", término que aplicó por primera vez refiriéndose al film Moana, de Robert Flaherty. Convencido de que el cine debía tener una función propagandística social, decidió formar un grupo de producción de documentales. En 1927, realizó Pescadores a la deriva (Drifters) para Empire Marketing Board (EMB), siendo esta su única película dramática. Después formó la escuela Grierson con universitarios provenientes de Cambridge. Cuando se disolvió EMB, en 1933, pasó a General Post Office, donde realizó: Correo nocturno (Night Mail, 1936), con Harry Watt, Mar del Norte (North Sea, 1938), La canción de Ceylán (The Song of Ceylon, 1934-35), con Basil Wright e Industrial Britain (1933). En 1937 fundó el Film Center con la intención de independizarse. En 1938 lo llamó el gobierno de Canadá y en 1939 creó el National Film Board, con el que formó otro grupo de documentalistas, entre los que se encontraba Norman Mac Laren. En 1945 volvió a Inglaterra y fundó la Internacional Film Associated, de la que formaron parte Robert Flarherty y Jean Benoit-Lévy, entre otros. Hoy es considerado el más importante teórico del documental y su obra es vista como un antecedente del neorrealismo italiano y del Free Cinema inglés. 2. DOCUMENTALES ANTROPOLÓGICOS DE OBSERVACIÓN: - LEACOK - PENNEBAKER OBRAS IMPORTANTES DE PENNEBAKER Primary (1960) Dont Look Back (1967, filmed 1965) with Bob Dylan Monterey Pop (1968, filmed 1967) Sweet Toronto (1971, filmed 1969) Keep On Rockin' (1969) - a film involving Little Richard Ziggy Stardust and the Spiders from Mars (1973) with David Bowie Town Bloody Hall (1979) DeLorean (1981) with John DeLorean Jimi Plays Monterey (1986) with Jimi Hendrix 101 (1989) with Depeche Mode The War Room (1993) Woodstock Diary (1994) Moon over Broadway (1997) Down from the Mountain (2000) Elaine Stritch: At Liberty (2004) portrait of Elaine Stritch Rebirth (unreleased) Eat the Document (unreleased, filmed 1966) Only the Strong Survive (2003) Al Franken: God Spoke (2006) Rock N Roll Music - a film involving Chuck Berry 65 Revisited - (2007)1 hr documentary, accompanies new DVD release of Dont Look Back 3. DOCUMENTALES ANTROPOLÓGICOS REFLEXIVOS: - DZIGA VERTOV DZIGA VERTOV (1895 – 1954) El documental reportero: Vertov Denis Arkad'evic Kaufman (Bialystok 1895 -Moscú 1954). Hijo de bibliotecarios. Después de cursar estudios de música 1912-1915 en Bialystok y de medicina 1916-1917en San Petersburgo, se dedica a escribir poesía y novela. Atraído por el futurismo, toma el pseudónimo de Dziga Vertov (En ucraniano "¡Gira, peonza!"). Cineasta innovador, teórico, poeta, agitador, editor, propagandista y pilar indispensable de un cine documental auténtico que respondiera a las necesidades políticas, económicas y sociales del momento histórico en que se hallaba inmerso.
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