命令作为一个纪录片,在很大程度上,取决于两件事:多少费海提的故事讲述小心翼翼坐标的方法因纽特人,不管这些战争是否从过去的复苏,在交通Allakariallak,扮演北极熊的人,体现一个灵魂和合理性,按照特定的方法因纽特人的生活同样与西方起源。这个故事既可以理解为因纽特人生活的生动写照，也可以理解为弗拉哈迪对因纽特人生活的独特看法。如果纪录片是现实的一代，这些问题就不会那么激烈了。然后我们基本上就有了对先前存在的东西的模仿或复制。无论如何，这部纪录片不是对现实的传播;它是我们所熟知的世界的写照。这类电影的存档不如那些可能建立在记录上的富有表现力的描述。纪录片是对世界的一种特定视角;不管我们是否知道这个世界的可验证部分，我们可能永远都不会经历。我们判断传播是通过它的奉献，它有能力准确地重现明显的亮点和填补需要精确扩散的需求，如在警察的面部照片，国际身份证照片，或修复的x射线。我们判断一个形象更多的是通过它所提供的快乐，对它所给予的理解的估计，以及它所嵌入的观点的本质。相比之下，《离婚伊朗风格》是一部广受好评的纪录片。它被宣布为“最佳纪录片”，在旧金山和阿姆斯特丹全球电影庆祝活动。这些奖项是非常值得的，因为这部电影展示了人类的各种情感，从玛丽安的绝望到齐巴的自信。“离婚”伊朗风格在普通大众中表现出一种鲜为人知的基础，而大多数美国人对这种基础并不熟悉。在任何情况下，材料是介绍在一个明确的，直接的安排，使影片真正可以考虑和审查在任何纪录片类。
It’s ordered as a documentary, for the most part, depends on two things: how much the story Flaherty tells so cautiously coordinates the methods for the Inuit, regardless of whether these wars are resuscitated from the past, and in transit Allakariallak, the man who plays Nanook, epitomises a soul and reasonableness that appears as much in accordance with a particular method for Inuit life similarly as with a Western origination of it. The story can be comprehended as both a conceivable portrayal of Inuit life and of Flaherty’s particular vision of it. Were documentary a generation of reality, these issues would be far less intense. We would then basically have an imitation or duplicate of something that previously existed. In any case, the documentary isn’t a propagation of reality; it is a portrayal of the world as we know it. Such films are not archived as much as expressive portrayals that might be founded on records. Documentary films represent a specific perspective of the world; one we may never have experienced regardless of whether the verifiable parts of this world are well-known to us. We judge propagation by its devotion to its ability to recreate obvious highlights accurately and to fill needs that require exact proliferation as in police mug shots, international ID photographs, or restorative X-beams. We judge a portrayal more by the idea of the joy it offers, the estimation of the understanding it gives, and the nature of the viewpoint it ingrains. In contrast, Divorce Iranian Style is an exceptionally widely praised documentary. It was announced, “Best Documentary” at the San Francisco and the Amsterdam Worldwide Film Celebrations. These awards are much merited for a film that can demonstrate a huge range of human feelings from Maryam’s desperation to Ziba’s assurance. Divorce Iranian Style demonstrates an obscure foundation in a general public that most Americans are generally new to. In any case, the material is introduced in a clear, straightforward arrangement makes the film truly available to consider and examine in any documentary film class.
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