The interplay between documentary and fiction
A documentary is not entirely different from a fiction film, as many people tend to believe. The general assumption among many viewers is that a documentary is simply a relay of reality on film, while fiction is just a cooked up story in a movie. The parameters of these two film categories cannot be looked at that way as though it was a simple case of black and white. To put this into better perspective, the precise definitions of these two film classes must be mentioned. A documentary is correctly defined as a film that is uniquely structured to depict an absolute truth or reality through visual and audio aspects that are similar to the actual occurrence of the intended event in history or a current situation, The film incorporates elements that try to bring the viewer as close as possible to that particular reality but at the same time direct the film to convey a specific message. A fiction film, on the other hand, is an invented story based on creative imagination that is organized into a movie. The aim is to come up with a particular story that is the creation of mind works that usually does not depict an account of how events generally occur in the world as we know it but, in the end, convey a concept that can be applied in real life. The two categories, therefore, have immense effects on each other, constituting an exciting interplay. Indeed there is a thin line between the two film classifications as both seek to relay an intended message and whether it is through an actual event in history or only an image is of no significant consequence.
It is evident that the notion of interplay is true. Having watched many fictional films and a dozen documentaries, the main idea remains that the directors of the two had a goal in mind for me as a viewer. The only difference was the method of delivery in terms of choice of story and set of events. To reinforce this idea, the film Germany Year Zero can be used as a good case study. The film is based on Italian Neorealism. A film movement that seeks to depict the aspects of stories set among the poor and working class. The film is cast on location and involves the use of nonprofessional characters. The economic and moral states of the period after the second world war are brought to light. With regards to the real bombed Berlin environment, one point that comes out clearly is that of choice of story. The film creator chooses the route of an event that happened in history. The film was shot on the actual area of this tragic incident and sought to enhance the vivid visual aspects of the bombing and how it affected the people, as seen with the naked eye. This is not to mean that if a fictional film was made about the bombing, the idea would be lost. In actual sense, the depiction may be equally powerful. The other point is on the intended message. This film was intended to give perspective on the effects of war on people. This was clearly achieved through the characters and events in the film that tried to bring into light how people grappled with the disrupted social, economic, and political aspects following the bombings and end of the war. A fictional film could easily demonstrate the same.
In conclusion, the two film classifications work together to convey intended messages, and the difference in presentations is not an issue of concern. Therefore, viewers should strive to appreciate the works of both categories and aim to decipher the message in them. This is of more importance.
https://www.criterion.com/current/posts/1358-germany-year-zero-the-humanity-of-the-defeated