The Ways of Documentary Cinema. Analysis of Three Models
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Abstract
The present work is a theoretical study that compares the modes of documentary representation provided by Bill Nichols, Michael Renov, and John Corner. Such paradigms correspond to the increase of documentary studies from the beginnings of nineties of 20th century. They have become prominent guides for the reinterpretation of aesthetics and history of documentary film. The critical revision proposed here includes the analysis of specific examples of Cuban documentary films produced by Cuban Institute of Art and Cinematic Industry (ICAIC) between 1959 and 1991. The three models followed identify different theoretical backgrounds over which project the image of documentary, for that reason, this study argues for the triangulation of the categories in the exam of significant volumes of documentaries.
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