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Documentary is also intrinsically aesthetic and, therefore, an art. It is as much about shots and cuts, structure and rhythm as fiction film. Anyone who has been on a shoot or spent months in a documentary editing room watching a work change shape, story and meaning, knows this. Non-fiction film is, then, something like a chariot pulled by two horses: when they run together you get unique works of art. Following it tells us much about the relationship between reality and art in documentary. A Scot born in 1898 who studied philosophy, he was interested by mass-communication theories. He first used the term documentary in a review of American Robert Flaherty’s non-fiction movie Moana. The currents that flowed through Grierson’s ideas were fascinating: Kant’s theories of harmony; Ruskin’s Victorian idealism; the films of Flaherty and, from non-fiction, the Soviet director Sergei Eisenstein and, even more so, the Ukrainian Dovzhenko; plus the Scottish educational zeal of his schoolmaster father. Together these influences turned Grierson into documentary’s first evangelist and, more than anyone in the UK at the time, the man who got the money to make documentaries. Setting up film units at the Empire Marketing Board and the General Post Office, then establishing the National Film Board of Canada, he institutionalised non-fiction film, saying that “documentary was a term that pleased the government”. Drifters (1929), a mythic work full of montage sequences about North Sea fishermen, saw all his themes playing at full pelt. The Strand-Funt- Maysles idea of directorial self-abnegation has no place in Grierson’s ardent, beautiful attempt to change the world. Between 1929 and 1936 Grierson gathered around him a range of sometimes highly talented, mostly male, mostly Oxbridge, mostly English, mostly very young film-makers, the best of whom developed his work on Drifters in even more aesthetic directions.

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I actually meant Bad Lieutenant: Port of Call New Orleans (2009). Would have to win the most violent film I've seen I reckon. Apart from maybe some of the Saw series but that is different imo. Its a very powerful film, I love it, really gets you going. In fact, he's just allround awesome even in bad films. Bad Lieutenant is not one of those. The lowlight would have to be the impossible-to-take-seriously super-villain. He looked dopey, and his fetish for decorating and giving make-overs was so camp. Unfortunately that caused me to find out there is a CHIPS film and he appears to be in the Erik Estrada role. Some very funny and poignant moments and even Flynt himself is convincing in a cameo as a morally offended judge. Which in itself isn't a killer blow as long as it is still fun. Sure won't get too many points for originality within the series, with several movie cliches, rehashing some done ideas and a pretty ordinary way the heroes win in the end. But I thought it was well executed for what it was and a good time filler.

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Where’s the rule that says that important elements have to be included from the start. Again, if you don’t like that then that’s cool but it’s not bad story-telling. I mean, I think 50 Shades of Grey is the most God awful piece of shite put to paper but it’s told a story that has got thousands of people to buy it so objectively it’s good story-telling (or mass hysteria) as it’s effetively found resonance with a certain audience. George has certainly lifted a lot from history so it’s perfectly plausible. Rob and perhaps Rickon in the future have shades of Bonnie Prince Charlie and Harry Hotspur and Aegon IV pretty much was Henry VIII. Everyone who ever studied literature can tell you that. I my opinion again, and in my analysis of GRRM’s work, the strongest parts of his story are characters and plot twists (especially deaths). In art truth does not exist, but they have a strong basis in the history of world literature. I’m more conservative in that way, you are much more e liberal, and that is fine. That’s the reason why one book can have very different reviews. In any case, I don’t see a necessity for Lyanna appearing at the Tower of Joy. They could just film the battle outside and Ned could carry the infant Jon out of the Tower. A discussion with Howland Reed could serve for an explanation: we must keep this child’s parentage a secret for his safety.

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