Voice-Over we are talking about voice-over we have

Voice-Over also known as off camera or off stage
commentary. It brought a significant changes to the films and documentaries
when it was first introduced. The Non-diegetic voice is usually derives by an
unseen body. Bruzzi describes it as, “an extra-diegetic soundtrack that has
been added to a film.” (Bruzzi, 2006: p-47). Voice- over has a significant
ability to provide extra information where just image alone could not portray a
producer’s intended massage. Voice-over acts as a guide for the audience for
their better understanding of the film and its massage.

When we are talking about voice-over
we have to talk about Grizzly man (2005) because
its complexity in voice-over. Although you can hear Herzog’s voice-over throughout the film
but it is not the only voice-over audience can hear. It is important to note
that differentiate must be made between the voice of Herzog and the voice of
Treadwell. In this documentary Herzog’s voice is actual voice-over where
Treadwell’s voice is only voiced. Treadwell’s voice not
been counted as voice-over because it was not recorded in the post production,
so by any means it cannot be classified as voice-over. Austin points out that,
‘two voices (Treadwell’s and Herzog’s) are fore grounded’, both of them,
“offering interpretations and commentaries throughout the film. “(Austin, 2008:
P, 53).

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If a story is told
through a specific person’s point of view that is call subjective voice-over it
is also known as ‘limited omniscience’. The voice-over artist sees the story
through the eyes of a character and he knows everything only about a single

In objective
voice-over character’s detail will be describe in a broad way but the reason,
goal and the action will not be clear to the audience. It might be very helpful
if the scene is building up to some sort of action. A subjective voice-over
unlike an objective voice-over, knows character’s all the moves, actions and
feelings and tell them to the audience.

are medium of representation they film and sometimes reconstruct the almost
every day reality which audience normally cannot experience themselves. Because
photography is an indexical portentous truth, viewers understand the
documentary is a moving picture it also mean truth. However, they are able to
distinguish between the daily reality presented by the documentaries and the
fictional reality of cinematographic films. When we are talking about whether
the documentaries portrays real events or it is fictional then we have to talk
about The war tapes (2004) because the way it was filmed. Director  Deborah
Scranton gave three small hand held digital camera  to three members of the new
Hampshire army national guard just before they were sent off to Iraq in 2004, and
asked them to film whatever they are going to experience over there. For some
viewers it was very unique and genuine but other viewers thought it was one
sided documentary the soldiers were given the cameras they have just filmed
what the American and allied soldiers were doing but they  failed to show what Iraqi people were going
through and what they think about the war. Some critic thinks that the
documentary was heavily biased by the American politics.

But the
documentary’s version of reality is not as innocent as it presents itself. For
the reason that perceived indexical true price of the film, the viewers are
drawn into a daily reality that apparently does not require questions. It is a
sense of togetherness between the creator and the viewer, which gives the
viewer the feeling of being both here, now, looking at the picture and there,
then looking at what the image represents or evokes. This relationship is a
window for the audience, where the camera’s lens is, in effect, the person’s
eye with the implication that the two are interchangeable, so that the viewer
is in effect. Furthermore, a representation is not the same object as the
reality it represents. When screening a documentary, the audience is not
watching reality, but a recorded representation of what it once was.

The relationship between image and sound is that of a complex
interaction, where Image and sound seem to become one single element. Images
are used to reinforce our emotional response to the music just as the music can
be used to intensify our reaction and understanding of the image. It is done to
heighten our sensory perception. An example of this is when an image or a sound
reflects the mood/emotion of the other. In film and television we don’t
separate them as two different experiences, they are the element of the same

Observational documentaries what some refers to as direct cinema and
other describes it as cinema verite. For some expert and critics the
terminology direct cinema and cinema verite are interchangeable.   Other people refers it to distinctive modes.