Don't+Look+Back+-+Group+1D

​This is the Wiki page for those presenting on Don't Look Back in group 1D.

Don’t Look Back is a famous example of Direct Cinema following Bob Dylan’s 1965 UK tour. Direct Cinema is a form of cinema that developed in the USA during the 1960s as a call from journalists to allow them to get closer to the subjects they were recording, allowing their reports to be more ‘real’. At this same time Cinéma Vérité was developing in France. This new style of close up filming was enabled because of advances in portable synchronised sound cameras, which allowed for items to be filmed on-location as they happened. Despite their many similarities however, with both methods aiming for an impartial view of documentary making allowing for ‘film truth’ they developed because of different demands and this led to key differences. I think this has been best summed up by film historian Eric Barnouw who said “The direct cinema artist aspired to invisibility; the... cinema verite artist was often an avowed participant.” [i]
 * __Cinema Verite vs Direct Cinema __**

Bearing this in mind I think it could be argued that Don’t Look Back isn’t actually an example of Direct Cinema at all as Dylan was far too involved in the whole filming process, coming up with his own ideas for scenes he wanted to include, such as the prologue and generally acting up for the camera. If direct cinema is about observation whilst cinema vérité is about provocation then surely Don’t Look Back is actually more an example of cinema vérité, with situations being partially set up by Pennebaker and Dylan.

Other famous examples of these forms of cinema which help better display these differences are Primary (directed by Robert Drew, Richard Leacock), which, made in 1960 was the first example of direct cinema, Chronique d’un été ( directed by Jean Rouch) which was made in 1960 and was the first example of cinema verite and Titicut Follies (directed by Frederick Wiseman) which was made in 1967.

As discussed last week Grierson believes that events in a documentary should be dramatised in order to create interest from the audience and that the film-maker should influence events in contrast to this the main focus of Dziga Vertov’s theories is that a documentary should be true to the subject’s nature and take both the camera and the film-maker out of the equation, creating the impression of the ‘invisible camera’. During Vertov’s time the concept of an ‘invisible camera’ was highly impractical but because of technology advances that I’ve already mentioned this became much more relevant during the 1960s with films such as Don’t Look Back.
 * __Vertov’s Influences on Don’t Look Back __**

In his essay, We: Variant of a Manifesto, Vertov says, “We proclaim the old films, based on the romance, theatrical films and the like, to be leprous... We affirm the future of cinema art by denying its present. “Cinematography” must die so that the art of cinema may live.” [ii] Meaning that documentaries should be more truthful to the subject and less about dramatics, in direct opposition to Grierson’s theories.

In the case of Don’t Look Back, Grierson’s theories seem more substantiated than Vertov’s since Pennebaker and Dylan do things with seemingly the sole purpose of adding drama to the film, such as Dylan’s stand-offish behaviour with the interviewers.

Cine-eye was essentially Vertov’s movement to try and increase the level of truth in film by creating what can only be described as an army of hidden cameras on citizens, in his instruction manual to these people one of the ideas is to film without the subject’s knowledge in order to get a truthful representation without them putting on a show. Dylan’s constant glances to the camera are enough to prove that he is all too aware that the camera is there. In Vertov’s own words, “Cine-eye is not the aim. Cine-eye is a means. To show without masks.” [iii] Whereas Dylan does all he can not to show us the real him throughout the film, giving very calculated reactions he feels will make for the best entertainment.

If Don’t Look Back is supposed to be an example of Direct Cinema then it should be all about observation, observing Dylan without disrupting his normal behaviour. Since the entire film is one performance after another however, even in backstage areas this clearly isn’t the case. Right from the opening scene where Dylan is flicking through the cards with his song words on it feels like things aren’t quite right for a non-intrusive documentary.
 * __The Issue of Performance in Don’t Look Back __**

One of the clearest examples I noticed of an obviously set up scene was when Dylan was stood outside the music shop with a sign for his own song in the window. I didn’t get the impression he’d just stumbled upon it, rather that it had been hunted out or purposefully placed there.

Even the director Pennebaker has since said “Dylan knew that the camera was recording [him] in a way which [he] elected to be recorded. [He was] enacting [a] role... very accurately.” [iv] This doesn’t sound like the audience was getting an access-all-areas, meet the true Bob Dylan, documentary to me. Rather that it was all just another show to increase his profile.

Richard Leacock, who was part of the team responsible for Primary, the first direct cinema film said that a true documentary should have “No interviews. No re-enactments. No staged scenes and little narration.” [v] Well as I’ve already shown there were definitely staged scenes and there were plenty of interviews, with one interview often cutting straight onto the next.

These interviews maximised the potential for Dylan’s act, sometimes he seemed to want to have a laugh and a joke with them and others he was being highly confrontational. This split nature shows he was at least partly aware of the camera’s presence. When thinking about truth in film I think the most interesting quote came from Dylan himself during his interview with the reporter from the Times Magazine where he goes into a rant about the truth that people can expect from the article, saying “It’s all just pretty pictures”

When discussing the structure of Don’t Look Back I think the most important thing to mention are the jump cuts throughout, particularly when they start going between past and present events as it disrupts the narrative structure required for observationalism. Particularly the scene where an interviewer asks Dylan how he got started, Dylan doesn't even answer the question before it cuts to a previous concert from Dylan's youth. By including these cuts Pennebaker makes you very aware that something has been cut out and this isn't a 'truthful' account. However it doesn't fit in with the idea of direct cinema and a constant observation of a subject.
 * __Dialogue and Structure __**

I found the film quite hard to follow the first time I saw it because it doesn’t show whole conversations, instead it jumps in and out of them, disorientating the audience and not providing a particularly truthful account of events. Another noticeable stylistic choice made in the documentary is all the juddery shots because of the hand held camera, in the back of taxis and running through corridors to name but a few. This type shot is a general convention of the rockumentary however, with these long walking shots being used to help link Bob Dylan the man, and Bob Dylan the performer in the eyes of the audience.

The last thing I will mention about the structure and style choices of the film is that there were an awful lot of tight close ups on Dylan’s face, as if waiting for his every reaction with bated breath. Conclusion __** Frederick Wiseman is often seen as the man who perfected the technique of Direct Cinema with his many films set in public institutions, such as Titicut Follies and High School, despite this even he “dismisses claims of "film truth" by documentarians as presumptuous at best and describes his films as "reality fictions" or "reality dreams,"” [vi] This says a lot about the concept for truth in film as a whole. If you were to accept this idea and put it in the context of Don’t Look Back this shows that although yes, Dylan is putting on a show and not letting the camera get too close to his inner self and yes, Pennebaker did relinquish a lot of his direct cinema principles when he let Dylan have so much control over the filming this is a good film, which gives a glimpse into the life of one of the most famous singers of the 1960s and that’s more than people would have seen of him through his music alone.  In the film there is a scene where Dylan confronts a reporter about who he really thinks he is and the reporter refers to himself as a science student before carrying on to debate the purpose of life etc, which the science student claims he cannot do in the time alloted. In his book Documentary Film Classics, William Rothman has done really extensive research of Don’t Look Back and he came to the decision that, “Don’t Look Back calls upon us to do precisely what the science student cannot bring himself to do: just watch quietly, in complete silence, without saying one word. Viewing Dylan in Don’t Look Back, it is impossible for us to satisfy him, hence impossible for us to fail to satisfy him. Thanks to the camera, thanks to the medium of film, we are able to watch and listen to Dylan without worrying whether we are satisfying him.” [vii] I think this beautifully sums it up, I take it to mean, don’t read too extensively into this film because no matter how much you try you won’t get close to the real Bob Dylan, so just sit back, relax and enjoy the glimpse he does give you.
 * __

• __Introduction __  • []     • __Cinéma __ __<span style="color: black; font-family: Calibri; font-size: 32pt; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">Vérité ____<span style="color: black; font-family: Calibri; font-size: 32pt; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;"> and Direct Cinema __<span style="color: black; font-family: Calibri; font-size: 32pt; language: en-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">   • __<span style="color: black; font-family: Calibri; font-size: 32pt; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">Robert Flaherty and ____<span style="color: black; font-family: Calibri; font-size: 32pt; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">Nanook ____<span style="color: black; font-family: Calibri; font-size: 32pt; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;"> of the North __<span style="color: black; font-family: Calibri; font-size: 32pt; language: en-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">   • <span style="color: black; font-family: Calibri; font-size: 32pt; font-weight: bold; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;"> <span style="color: black; font-family: Calibri; font-size: 32pt; language: en-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">   • <span style="color: black; font-family: Calibri; font-size: 32pt; font-weight: bold; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;"> <span style="color: black; font-family: Calibri; font-size: 32pt; language: en-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">   • <span style="color: black; font-family: Calibri; font-size: 62pt; font-weight: bold; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">“As far as I’m concerned, it was never meant to be a documentary. I don’t like them much. To my mind, the most interesting filmmaker that I ever knew about was Robert Flaherty, who made ‘NANOOK OF THE NORTH’. It was about this Eskimo, and Flaherty didn’t try to tell you everything there was about the life of an Eskimo. He just wanted to show you what it was like to be with an Eskimo for little bit. And that’s the feeling I tried to put across’’ <span style="color: black; font-family: Calibri; font-size: 62pt; language: en-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">  • <span style="color: black; font-family: Calibri; font-size: 62pt; font-weight: bold; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;"> D A PENNEBAKER    • <span style="color: black; font-family: Calibri; font-size: 62pt; language: en-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">[]    • __<span style="color: black; font-family: Calibri; font-size: 32pt; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">Vertov ____<span style="color: black; font-family: Calibri; font-size: 32pt; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;"> and Don’t Look Back __<span style="color: black; font-family: Calibri; font-size: 32pt; language: en-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">   • <span style="color: black; font-family: Calibri; font-size: 20pt; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">“We proclaim the old films, based on the romance, theatrical films and the like, to be leprous... We affirm the future of cinema art by denying its present. “Cinematography” must die so that the art of cinema may live.”   • <span style="color: black; font-family: Calibri; font-size: 20pt; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">“Cine-eye is not the aim. Cine-eye is a means. To show without masks.”   • <span style="color: black; font-family: Calibri; font-size: 20pt; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">The ‘invisible camera’    • <span style="color: black; font-family: Calibri; font-size: 20pt; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">Life caught unawares   • __<span style="color: black; font-family: Calibri; font-size: 32pt; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">Breaking Conventions __<span style="color: black; font-family: Calibri; font-size: 32pt; language: en-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">   • __<span style="color: black; font-family: Calibri; font-size: 32pt; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">Performance __<span style="color: black; font-family: Calibri; font-size: 32pt; language: en-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">   • <span style="color: black; font-family: Calibri; font-size: 20pt; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">“Dylan knew that the camera was recording [him] in a way which [he] elected to be recorded. [He was] enacting [a] role... very accurately.” <span style="color: black; font-family: Calibri; font-size: 20pt; font-weight: bold; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">D.A. Pennebaker   • <span style="color: black; font-family: Calibri; font-size: 20pt; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">Scenes very set up    • <span style="color: black; font-family: Calibri; font-size: 20pt; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">Back-stage scenes    • <span style="color: black; font-family: Calibri; font-size: 20pt; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">“No interviews. No re-enactments. No staged scenes and little narration.” <span style="color: black; font-family: Calibri; font-size: 20pt; font-weight: bold; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">Richard Leacock <span style="color: black; font-family: Calibri; font-size: 20pt; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">    • __<span style="color: black; font-family: Calibri; font-size: 32pt; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">Dialogue and Structure __<span style="color: black; font-family: Calibri; font-size: 32pt; language: en-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">   • <span style="color: black; font-family: Calibri; font-size: 20pt; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">Prologue structure    • <span style="color: black; font-family: Calibri; font-size: 20pt; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">Jump cuts    • __<span style="color: black; font-family: Calibri; font-size: 20pt; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">[|http] ____<span style="color: black; font-family: Calibri; font-size: 20pt; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">[|://www.youtube.com/watch?v=18XflnNFRb4&feature=related] __<span style="color: black; font-family: Calibri; font-size: 20pt; language: en-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">    • <span style="color: black; font-family: Calibri; font-size: 20pt; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">No full conversations    • <span style="color: black; font-family: Calibri; font-size: 20pt; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">Shaky shots inside taxis and corridors, the effect of the hand held camera. • __<span style="color: black; font-family: Calibri; font-size: 32pt; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">Influences __<span style="color: black; font-family: Calibri; font-size: 32pt; language: en-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">  • __<span style="color: black; font-family: Calibri; font-size: 32pt; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">[] __<span style="color: black; font-family: Calibri; font-size: 32pt; language: en-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">    • __<span style="color: black; font-family: Calibri; font-size: 32pt; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">Conclusion __<span style="color: black; font-family: Calibri; font-size: 32pt; language: en-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">   • __<span style="color: black; font-family: Calibri; font-size: 20pt; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">[] __<span style="color: black; font-family: Calibri; font-size: 20pt; language: en-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">    • <span style="color: black; font-family: Calibri; font-size: 20pt; language: en-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">Frederick Wiseman “dismisses claims of "film truth" by documentarians as presumptuous at best and describes his films as "reality fictions" or "reality dreams,"”    • <span style="color: black; font-family: Calibri; font-size: 20pt; language: en-GB; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">“Don’t Look Back calls upon us to do precisely what the science student cannot bring himself to do: just watch quietly, in complete silence, without saying one word. Viewing Dylan in Don’t Look Back, it is impossible for us to satisfy him, hence impossible for us to fail to satisfy him. Thanks to the camera, thanks to the medium of film, we are able to watch and listen to Dylan without worrying whether we are satisfying him.” <span style="color: black; font-family: Calibri; font-size: 20pt; language: en-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">
 * __Presentation Slides__**

[i] **<span style="font-family: 'Calibri','sans-serif'; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">Beattie, Keith (2004) //Documentary screens : non-fiction film and television.// **<span style="font-family: 'Calibri','sans-serif'; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin; msoasciithemefont: minor-latin; msobidifontfamily: 'Times New Roman'; msobidithemefont: minor-bidi; msohansithemefont: minor-latin; msospacerun: yes;"> Palgrave Macmillan (Page 83) [ii] We: Variant Of A Manifesto by Dziga Vertov [iii] Hicks, Jeremy (2007) //Dziga Vertov, Defining Documentary Film// I. B. Tauris & Co Ltd (Page 32) [iv] **<span style="font-family: 'Calibri','sans-serif'; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">Beattie, Keith (2004) //Documentary screens : non-fiction film and television.// **<span style="font-family: 'Calibri','sans-serif'; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin; msoasciithemefont: minor-latin; msobidifontfamily: 'Times New Roman'; msobidithemefont: minor-bidi; msohansithemefont: minor-latin; msospacerun: yes;"> Palgrave Macmillan (Page 102) [v] **<span style="font-family: 'Calibri','sans-serif'; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">Beattie, Keith (2004) //Documentary screens : non-fiction film and television.// **<span style="font-family: 'Calibri','sans-serif'; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin; msoasciithemefont: minor-latin; msobidifontfamily: 'Times New Roman'; msobidithemefont: minor-bidi; msohansithemefont: minor-latin; msospacerun: yes;"> Palgrave Macmillan (Page 95) [vi] <span style="font-size: 10pt; mso-bidi-font-family: Times-Roman; mso-bidi-font-weight: bold; mso-fareast-font-family: 'Times New Roman'; mso-font-kerning: 14.0pt;">Gross, L. Katz, J.S. Ruby, J <span style="font-size: 10pt; mso-bidi-font-family: Times-Roman; mso-fareast-font-family: 'Times New Roman'; mso-font-kerning: 14.0pt;"> (1988) //Image Ethics: The Moral Rights of Subjects in Photographs, Film and// //Television// (e book Page 75) [vii] Rothman, W. (1997) //Documentary Film Classics.// Cambridge University Press  (Page 181)