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THEORY OF DOCUMENTARY FILM IN THE NEW MEDIA LANDSCAPE
Abstract
The aim of the submitted work is to detect relevant opinions, knowledge and impulses in the spectrum of filmologic reflection related to documentary film from its beginnings up to the stage of looking for new perspectives in new conditions. The accessible literature only randomly or marginally deals with the position and importance of individual personalities, groups, movements and profile theoretical works and their influence upon the development of documentary cinematography practice. Even less attention is paid to the periodization and classification of essential theoretical statements according to individual historical style periods. Current practice shows the need to analyse and confront those doctrines that have been either permanently or significantly applied in the documentary film production. Until now there has not been a publication summarizing the decisive opinions and information conditioning the basic synthesis and completion of the constitutional period of documentary film period. It is the ambition of the submitted work to contribute to its homogenisation. With its historical complexity it brings opportunities for further research mainly in current factors of documentary film effects in communication system. The presentation of cinematographic documentary genres in cinemas or on the TV screen only has been pushed aside by commercial formats for decades. This is the reason why documentary cinematography must look for new forms of presentation, new audiences, and new narratives overlapping with digital games.
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