The document discusses the history of documentary films and photography from their origins to modern digital technologies. It covers early photography in the 1820s, the development of moving images with devices like the camera obscura and Lumière Cinématographe. It also discusses the differences between documentaries and city symphonies, and how technology has enabled more portable cameras and democratic access to filmmaking over time.

1. What is happening?

2. 1826 paris First permanent photograph

3. What is the difference between painting and photography?

4. camera obscura

5. sliding wooden box camera

6. Lumière Cinématographe [1895]

7. Amazing moving realism?

8. The Documentary vs. the City Symphony A documentary film presents facts, usually about people and events of historical significance, or about social issues. The director of a documentary endeavors to present facts in an entertaining way without distorting the information. A documentary in its purest form uses actual footage of people and events to communicate information or viewpoints. The director uses actors only to recreate historical events. "A country without documentaries is a like a family without a photo album.”(Chilean documentary film director Patricio Guzman) Are the every day images recorded by Auguste and Louis Lumière in the 1890's a documentary? City symphonies use, in most cases, candid shots of common people going about their daily lives. City Symphonies by the juxtaposition of scenes create a montage, which tends to create a work of art. The images often take on a surrealistic aspect. Aesthetic effects as well as an attempt to encourage the viewer to look at everyday scenes with a new eye motivate these artistic attempts on the part of the director. A City Symphony is more like scrapbook with a theme. Are City Symphonies true documentaries?

9. Technology & Revolution

10. ‘ Le Parvo' robust, compact and at the height of technology.

11. 20’s - decisive moment or distorted observation?

12. Technology, technique and content Checklist of essentials for a Kino-Eye filmmaker: 1. rapid means of transport 2. highly sensitive film stock 3. light handheld film cameras 4. equally light lighting equipment 5. a crew of super-swift cinema reporters (etc) — Vertov

13. Technology, technique and content Thirty years after his time it became possible to apply Vertov's injunctions without any loss between the idea—to film everything, record everything, to be in life without disturbing or falsifying it—and its realisation. (Vertov had been restricted to filming public manifestations, crowds, ceremonies, etc and was unable to seize everyday life because his equipment could not pass unnoticed). — J-L Comolli in Cahiers du cinéma, nos 209, 211

14. Cameflex -16mm economics

15. Éclair - french new wave

16. Mobility, spontaneity, intimacy

17. 60’s - living in the moment or changing the moment? Pennebaker Jean Rouche camera as gun

18. domestic

19. digital naturalism

20. EZ-1

21. access "Film will only become art when the materials are as inexpensive as pencil and paper" -Jean Cocteau

22. alternative mediamakers Fisher-Price PXL-2000

23. gummo

24. Dogme95 Today a technological storm is raging, the result of which will be the ultimate democratisation of the cinema. For the first time, anyone can make movies. By using new technology anyone at any time can wash the last grains of truth away in the deadly embrace of sensation. To DOGME 95 the movie is not illusion! DOGME 95 counters the film of illusion by the presentation of an indisputable set of rules: 1. Shooting must be done on location. Props and sets must not be brought in 2. The sound must never be produced apart from the images or vice versa. 3. The camera must be hand-held; shooting must take place where the film takes place. 4. The film must be in colour. Special lighting is not acceptable. 5. Optical work and filters are forbidden. 6. The film must not contain superficial action. (Murders, weapons, etc. must not occur.) 7. Temporal and geographical alienation are forbidden. (That is to say that the film takes place here and now.) 8. Genre movies are not acceptable. 9. The director must not be credited. anti-illusion or anti-freedom?

25. Harmony Korine

26. 2000’s - the sixties all over again?

27. evidence The collection of photographs and video scares people .

28. The death of cinema There has been a significant expansion in the level of photography carried out on the public at large.

29. cctv At the same time there have been advances in closed circuit television (CCTV) technology.

30. I like to watch

31. Criminal identity What are the dis/advantages of using surveillance cameras to detect criminal activity? Should we be willing to sacrifice some level of privacy for national security?

32. Parental care Do parents have the right to monitor their children’s behaviours? Do parents have the right to monitor their children’s behaviours using surveillance?

33. Classroom control The courts have determined schools to be places in which students relinquish some of their constitutional rights. Why? How do you fell being monitored at school?