The function of factual content within an essay film

Abstract

In the traditional approach to documentary films, the presentation of facts can be cold and sterile. When placed alongside the personal perspective in the essay film form derived from the literary essay form set by Aldous Huxley, the information filtered through the characters as they attempt to work through a mental knot now serves a function beyond just data. Out of this synthesis, an overarching thesis emerges which, I argue, is the function of the factual pole of Huxley's three-pole framework (Maes- Jelinek, 261). This paper examines 'Seizing the Unrecorded', 'The Gleaners and I', and 'San Soleil' as case studies of essay films to investigate the function of factual information. I find that the use of information aids in contextualizing the author's perspective through research and allowing the viewer to interpret the narrative in their individual way while allowing character vulnerability. This leads to a strong filmmaker-audience connection giving reach to a broader audience. My film, 'The Freelancer', adopts this argument in order to expand the importance of factual information.