The sense of documentary as a combination of recording and argument is a point that has to be made repeatedly when discussing documentary, even in the present. The assumption that a documentary must strive for balance and eschew political bias has led some of the most prominent historians of Soviet cinema to claim that there is a contradiction between documentary and the Communist world-view, 4 or to condemn Vertov’s lack of ‘objectivity’: a false virtue he had neither claimed nor desired. 5 These same sorts of views still colour reception of contemporary documentaries, leading some to argue that the partisan approach of Michael Moore’s Fahrenheit 9/11 [USA 2004] meant it could not be a documentary.
>> http://www.cronistas.org/wp-content/uploads/2013/12/DZIGA-VERTOV-Defining-Documentary-Film.pdf
>> http://dosen.narotama.ac.id/wp-content/uploads/2012/03/politics-the-rulling-group-in-russia.pdf
>> http://www.ldsfreedomnetwork.com/none-dare-call-it-conspiracy.pdf
Commune-Social-ISMS have been and are sold as manufacturing reality in the flat and round earth.
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