Instruct: Given a question, retrieve documents that can help answer the question.
Query: What was the first documentary film?
"First Contact" is the first documentary in what later became known as "The Highland Trilogy". The other two films are "Joe Leahy's Neighbours" (1989) and "Black Harvest" (1992). These three films, between them, have won some thirty major awards, included each film winning both the Grand Prix at the Festival Cinéma du Réel in Paris and AFI Award for Best Documentary.
Tarkovsky's first feature film was "Ivan's Childhood" in 1962. He then directed "Andrei Rublev" in 1966, "Solaris" in 1972, "Mirror" in 1975 and "Stalker" in 1979. The documentary "Voyage in Time" was produced in Italy in 1982, as was "Nostalghia" in 1983. His last film "The Sacrifice" was produced in Sweden in 1986. Tarkovsky was personally involved in writing the screenplays for all his films, sometimes with a cowriter. Tarkovsky once said that a director who realizes somebody else's screenplay without being involved in it becomes a mere illustrator, resulting in dead and monotonous films.
In 2015, he directed "", which became the second Global highest grossing Indian film of all time, and the highest grossing Indian film of all time within India. The making of the epic film was featured in BBC's documentary on 100 Years of Indian cinema, directed by Sanjeev Bhaskar. The film was shot using Arri Alexa XT camera, marking Rajamouli's first film using digital camera. Rajamouli's work was cited by "The Hollywood Reporter", "The Guardian" and "The Huffington Post". The film was Nominated in four categories at the 42nd Saturn Awards of the Academy of Science Fiction, Fantasy and Horror Films in Los Angeles, USA.
Though not exactly labeled as such, there were early precedents for "television movies", such as "Talk Faster, Mister", which aired on WABD (now WNYW) in New York City on December 18, 1944, and was produced by RKO Pictures, or the 1957 "The Pied Piper of Hamelin", based on the poem by Robert Browning, and starring Van Johnson, one of the first filmed "family musicals" made directly for television. That film was made in Technicolor, a first for television, which ordinarily used color processes originated by specific networks (most "family musicals" of the time, such as "Peter Pan", were not filmed but broadcast live and preserved on kinescope, a recording of a television program made by filming the picture from a video monitor – and the only (relatively inexpensive) method of recording a television program until the invention of videotape).
The primary steps in the commercialization of sound cinema were taken in the mid- to late 1920s. At first, the sound films which included synchronized dialogue, known as "talking pictures", or "talkies", were exclusively shorts. The earliest feature-length movies with recorded sound included only music and effects. The first feature film originally presented as a talkie was "The Jazz Singer", released in October 1927. A major hit, it was made with Vitaphone, which was at the time the leading brand of sound-on-disc technology. Sound-on-film, however, would soon become the standard for talking pictures.
The arrival of sound at the very end of the 1920s, produced a final artistic flourish of German film before the collapse of the Weimar Republic in 1933. As early as 1918, three inventors came up with the Tri-Ergon sound-on-film system and tried to introduce it to the industry between 1922 and 1926. UFA showed an interest, but possibly due to financial difficulties, never made a sound film. But in the late 1920s, sound production and distribution were starting to be adopted by the German film industry and by 1932 Germany had 3,800 cinemas equipped to play sound films. The first filmmakers who experimented with the new technology often shot the film in several versions, using several soundtracks in different languages. The film "The Blue angel" (1930), directed by the Austrian Josef von Sternberg and produced by Erich Pommer, was also shot in two versions - German and English, with a different supporting cast in each version. It is considered to be Germany's first "talkie" and will always be remembered as the film that made an international superstar of its lead actress Marlene Dietrich. Other notable early sound films, all from 1931, include Jutzi's adaptation to Alfred Döblin's novel "Berlin Alexanderplatz", Pabst's Bertolt Brecht adaptation "The Threepenny Opera" and Lang's "M," as well as Hochbaum's "Raid in St. Pauli" (1932). Brecht was also one of the creators of the explicitly communist film "Kuhle Wampe" (1932), which was banned soon after its release.
Works of literature have been adapted for film from the dawn of the industry. Some of the earliest examples come from the work of Georges Méliès, who pioneered many film techniques. In 1899, he released two adaptations — "Cinderella" based on the Brothers Grimm story of the same name and "King John", the first known film to be based on the works of Shakespeare. The 1900 film "Sherlock Holmes Baffled", directed by Arthur Marvin featured Arthur Conan Doyle's detective character Sherlock Holmes intruding upon a pseudo-supernatural burglary. The film, considered the first detective movie, ran for only 30 seconds and was originally intended to be shown in hand-cranked Mutoscope machines.
"America: Imagine the World Without Her" was marketed to political conservatives and through Christian marketing firms. Lionsgate released the film in three theaters on , 2014 and expanded its distribution on the weekend of the U.S. holiday Independence Day on July 4, 2014. The film grossed , which made it the highest-grossing documentary in the United States in 2014, though D'Souza's previous documentary "2016: Obama's America" had grossed over . Most professional film critics called the film poorly-made and partisan. Political commentators were critical of D'Souza's rebuttal of Howard Zinn's criticisms, the filmmaker's treatment of Saul Alinsky, Barack Obama and Hillary Clinton, and D'Souza's depiction of his own criminal prosecution. On the other hand, conservative commentators expressed a mix of full and qualified support for the documentary and D'Souza's intentions.
The documentary as a television "event" can send ripples far and wide ... "Year Zero" not only revealed the horror of the Pol Pot years, it showed how Richard Nixon's and Henry Kissinger's 'secret' bombing of that country had provided a critical catalyst for the rise of the Khmer Rouge. It also exposed how the West, led by the United States and Britain, was imposing an embargo, like a medieval siege, on the most stricken country on earth. This was a reaction to the fact that Cambodia's liberator was Vietnam – a country that had come from the wrong side of the Cold War and that had recently defeated the US. Cambodia's suffering was a wilful revenge. Britain and the US even backed Pol Pot's demand that his man continue to occupy Cambodia's seat at the UN, while Margaret Thatcher stopped children's milk going to the survivors of his nightmare regime. Little of this was reported. Had "Year Zero" simply described the monster that Pol Pot was, it would have been quickly forgotten. By reporting the collusion of "our" governments, it told a wider truth about how the world was run ... Within two days of "Year Zero" going to air, 40 sacks of post arrived at ATV ... in Birmingham – 26,000 first-class letters in the first post alone. The station quickly amassed £1m, almost all of it in small amounts. "This is for Cambodia," wrote a Bristol bus driver, enclosing his week's wage. Entire pensions were sent, along with entire savings. Petitions arrived at Downing Street, one after the other, for weeks. MPs received hundreds of thousands of letters, demanding that British policy change (which it did, eventually). And none of it was asked for. For me, the public response to "Year Zero" gave the lie to clichés about "compassion fatigue", an excuse that some broadcasters and television executives use to justify the current descent into the cynicism and passivity of Big Brotherland. Above all, I learned that a documentary could reclaim shared historical and political memories, and present their hidden truths. The reward then was a compassionate and an informed public; and it still is.
Toscano realized her father's goals to produce a film of the Mexican Revolution, when she worked with Cinematográfica Latinoamericana, S.A. Studios to construct the narrated "Memorias de un mexicano" film, which depicts of Mexican daily life documented by Salvador and others between the years 1897 to 1946. The fictional narrative, with voice-over by actor Manuel Bernal, revolves around the last fifteen year reign of dictator Porfirio Díaz, the subsequent Mexican Revolution, and life in post-revolutionary Mexico. "Memorias de un mexicano" premiered in 1950 to critical acclaim, being praised for its objectivity and impartiality towards its subject matter. Toscano was also identified as a pioneer in the genre of documentary filmmaking, as well as one of the leaders of the Mexican preservationist movement.
ReelScotland reviewed the film, concluding "an emotive film which shows both what can happen when a Government considers money over its own laws and how those at the sharp end remain resilient throughout". Roger Ebert of the "Chicago Sun-Times" gave the film three stars out of four, writing that the most fascinating aspect of the documentary is "Trump’s almost joyous rudeness" and that "the underlying message is that if you are rich and powerful enough, you can run roughshod over tradition and private property rights and buy your place at the table." Stephen Holden wrote in the New York Times that the documentary is an "unabashedly hostile portrait" of Trump, depicting him as "an insensitive, lying bully" who tried to pressure the golf course’s neighbors into sell their properties to him, including threatening them with compulsory purchase orders.
"The Life and Times of Rosie the Riveter" by Connie Field is a 65-minute documentary from 1980 that tells the story of women's entrance into "men's work" during WWII. "Rosies of the North" is a 1999 National Film Board of Canada documentary film about Canadian "Rosies," who built fighter and bomber aircraft at the Canadian Car and Foundry, where Elsie MacGill was also the Chief Aeronautical Engineer.
The stereoscope was first invented by Sir Charles Wheatstone in 1838. It showed that when two pictures are viewed stereoscopically, they are combined by the brain to produce 3D depth perception. The stereoscope was improved by Louis Jules Duboscq, and a famous picture of Queen Victoria was displayed at The Great Exhibition in 1851. In 1855 the Kinematoscope was invented. In the late 1890s, the British film pioneer William Friese-Greene filed a patent for a 3D movie process. On 10 June 1915, former Edison Studios chief director Edwin S. Porter and William E. Waddell presented tests in red-green anaglyph to an audience at the Astor Theater in New York City and in 1922 the first public 3D movie "The Power of Love" was displayed.
The documentary starts in 1947, with the first widely publicized UFO sightings in the United States, including recreations of the Kenneth Arnold UFO sighting, the Mantell UFO incident, and the Gorman Dogfight. It then traces the development of UFOs as both a popular fad and a serious concern for the US Air Force. The history of Project Sign, the first Air Force study of the UFO phenomenon, is discussed. The documentary then focuses upon Albert M. Chop and his growing involvement with UFOs. Chop is assigned as the public information officer at Wright-Patterson Air Force Base in Dayton, Ohio, in the late 1940s. In that position he is required to answer numerous news media queries about UFO sightings and what the Air Force knows about them. Although he is initially portrayed as a UFO debunker, Chop gradually changes his views as the movie progresses, and he comes to believe that UFOs are unknown, and possibly extraterrestrial, aircraft. By 1952 Chop has moved to Washington, DC, where he is the press spokesman for Project Blue Book. The documentary analyzes two famous pieces of UFO footage: the Mariana UFO Incident of 1950, in which the manager of the Great Falls, Montana minor-league baseball team claimed to have filmed two UFOs flying over the local baseball stadium, and the 1952 UFO film taken near the Great Salt Lake in Utah by a US Navy photographer, Delbert Newhouse. The documentary concludes with the famous 1952 Washington DC UFO incident, in which Albert Chop played a central role. The documentary recreates Chop's experiences during the incident, and at the end of the documentary Chop states his belief that UFOs are a "real", physical phenomenon of unknown origin.
The beginning of the sound era itself is ambiguously defined. To some, it began with "The Jazz Singer", which was released in 1927 and increased box-office profits for films, as sound was introduced to feature films. To others, the era began in 1929, when the silent age had definitively ended. Most Hollywood pictures from the late 1920s to 1960s adhered closely to a genre—Western, slapstick comedy, musical, animated cartoon, and biopic (biographical picture)—and the same creative teams often worked on films made by the same studio. For instance, Cedric Gibbons and Herbert Stothart always worked on MGM films; Alfred Newman worked at Twentieth Century Fox for twenty years; Cecil B. DeMille's films were almost all made at Paramount Pictures; and director Henry King's films were mostly made for Twentieth Century Fox. Similarly, actors were mostly contract players. Film historians and critics note that it took about a decade for films to adapt to sound and return to the level of artistic quality of the silents, which it did in the late 1930s.
"The Hound of the Baskervilles" marks the first of the fourteen "Sherlock Holmes" films starring Rathbone and Bruce as Holmes and Watson, respectively. It is also notable as the earliest known "Sherlock Holmes" film to be set in the Victorian period of the original stories; all known previous "Holmes" films, up to and including the 1930s British film series starring Arthur Wontner as Holmes, had been updated to a setting contemporaneous with the films' release. It is also the only film in the series to be a strict adaptation of its source material, while subsequent installments would feature original titles and incorporate various elements of different stories.
Some British television programs, particularly those made by or for ITC Entertainment, were shot on colour film before the introduction of colour television to the UK, for the purpose of sales to U.S. networks. The first British show to be made in colour was the drama series "The Adventures of Sir Lancelot" (1956–57), which was initially made in black and white but later shot in colour for sale to the NBC network in the United States. Other British colour television programs include "Stingray" (1964–1965), which was the first British TV show to be filmed entirely in colour, "Thunderbirds" (1965–1966) and "Captain Scarlet and the Mysterons" (1967–1968). However, most UK series predominantly made using videotape, such as "Doctor Who" (1963–89; 2005–present) did not begin colour production until later, with the first colour "Doctor Who" episodes not airing until 1971.
Since the early 1950s, more than 782 film or screen productions have been shot in Portland. Two of the most popular are "Twenty Thousand Leagues Under the Sea", by Walt Disney (USA) in 1954 and "The Harder They Come" by Vista Productions (Jamaica) in 1972. Scenes from the film "Cocktail," starring Tom Cruise, were shot at the bar on the beach at the Dragon Bay resort. An early film edition of the 1963 version of "Lord of the Flies" was largely shot at Frenchman's Cove; the 1990 remake by Harry Hook was filmed at Frenchman's Cove and Snow Hill. The singer Rihanna filmed the video for her song "Man Down" in various locations throughout the parish in April/May 2011.
Since "America: Imagine the World Without Her" and its predecessor "2016: Obama's America" share "America" in their titles, several film websites, including Rotten Tomatoes, Yahoo! Movies, and MovieTickets.com, had difficulty presenting results for the newer documentary. While these websites resolved the results, the filmmakers contacted the search engine Google to complain about a lack of immediate search results pertaining to the documentary. Other results, including "2016: Obama's America" and "" and "", were being shown instead. They expressed concern that a lack of results, including showtimes, would affect the documentary's gross. D'Souza claimed that the lack of search results was politically motivated on Google's part. A preliminary fix stopped listing results for either of D'Souza's documentaries. Google said the term "America" being common in film titles prevented specific results, and it updated its Knowledge Graph to show results for the 2014 documentary.
Tarkovsky's first feature film was "Ivan's Childhood" in 1962. He had inherited the film from director Eduard Abalov, who had to abort the project. The film earned Tarkovsky international acclaim and won the Golden Lion award at the Venice Film Festival in the year 1962. In the same year, on 30 September, his first son Arseny (called Senka in Tarkovsky's diaries) Tarkovsky was born.
At least seven movies were filmed at the Stampede by 1950. The most profitable, the 1925 silent film "The Calgary Stampede", used footage from the rodeo and exposed people across North America to the event. Hollywood stars and foreign dignitaries were attracted to the Stampede; Bob Hope and Bing Crosby each served as parade marshals during the 1950s, while Queen Elizabeth II and Prince Philip made their first of two visits to the event as part of their 1959 tour of Canada. The Queen also opened the 1973 Stampede.
With the Wong brothers, Balink started the Java Pacific Film production company in 1934, in what was then the Dutch East Indies. At the time Balink was inexperienced with film, having only book knowledge. Java Pacific Film, which was headquartered in an old tapioca flour factory, first produced the documentary film "De Merapi Dreigt" ("Mount Merapi Looms"), in 1934. Advertised as the first documentary film with sound in the Dutch East Indies, it was a critical success. However, Balink's main interest was in feature films. All feature films released in the Dutch East Indies between 1934 and 1935 had been directed by The Teng Chun, based on Chinese mythology or martial arts, and targeted at low-class audiences, generally ethnic Chinese. Balink intended to reach an upper-class audience.
In the late 1960s he began directing his own films. The first was "Poem Posters" (1967), a 20-minute documentary about the installation, opening, and breakdown of the exhibition of his surrealist collages. It was chosen for the Fourth International Avant-Garde Festival in Belgium. His second film was "Johnny Minotaur", which premiered in 1971. Its nominal subject was the Greek myth of Theseus, Ariadne, and the Minotaur's labyrinth. It was an exercise in surrealist juxtaposition of styles, including cinema vérité and "erotic kitsch". Shot in Crete and employing the structure of a film-within-a-film, it pretended to document the experiences of a film producer as he worked on a contemporary film about a classical myth, but Ford's work moved freely between the documentary subject and the supposed film in production with little respect for any distinction between the two. A reviewer in "The New York Times" said of the film, "The order of the day is male anatomy and male sexuality." The film played for a time at New York's Bleecker Street Cinema and been rarely screened since then. The Film-Makers' Cooperative has screened what it describes as the only surviving print of the film in festival settings, though some venues have refused to show it because of its explicit sexual content given the youthful appearance of some of the actors.
Fortunate Son (French title "Le fils béni", Greek title "Kalotyhos gios") is an autobiographical feature documentary film by Tony Asimakopoulos, a Canadian film director of Greek origin. The film was released in 2011 and produceed by Mila Aung-Thwin, Daniel Cross and Bob Moore of the Montreal-based film production company, EyeSteelFilm. The film is in English and Greek, with subtitles in English and French. As Asimakopoulos' first documentary, the film has been called "A searing documentary about family" by Liz Braun of the Toronto Sun, as well as "[...] a story of what binds families together, and what it means to be loved" by Daniel Pratt of Exclaim!.
Recent exhibitions at Tensta konsthall include
• “Abstract Possible: The Stockholm Synergies,” with Doug Ashford, Claire Barclay, Goldin+Senneby, Wade Guyton, Mai-Thu Perret, Walid Raad, and Haegue Yang, among others
• “Kami, Khokha, Bert and Ernie: World Heritage” by Hinrich Sachs
• “Doing what you want: Marie-Louise Ekman accompanied by Sister Corita Kent, Mladen Stilinović, and Martha Wilson” 
• “The Society without qualities” with Sören Andreasen, Ane Hjort Guttu, Sture Johannesson, Sharon Lockhardt, and Palle Nielsen (part of “The new model” and curated by Lars Bang Larsen)
• “Working With…” by Zak Kyes
• “We are continuing BBDG” with Bernd Krauss
• “Two Archives” by Babak Afrassiabi and Nasrin Tabatabai