Classifier Instance:

Anchor text: Spike Lee
Target Entity: Spike_Lee
Preceding Context: The nature of documentary films has expanded in the past 20 years from the cinema verité style introduced in the 1960s in which the use of portable camera and sound equipment allowed an intimate relationship between filmmaker and subject. The line blurs between documentary and narrative and some works are very personal, such as the late Marlon Riggs's Tongues Untied (1989) and Black Is...Black Ain't (1995), which mix expressive, poetic, and rhetorical elements and stresses subjectivities rather than historical materials. Historical documentaries, such as the landmark 14-hour Eyes on the Prize: America's Civil Rights Years (1986 – Part 1 and 1989 – Part 2) by Henry Hampton, Four Little Girls (1997) by
Succeeding Context: , and The Civil War by Ken Burns, UNESCO awarded independent film on slavery 500 Years Later, expressed not only a distinctive voice but also a perspective and point of views. Some films such as The Thin Blue Line by Errol Morris incorporated stylized re-enactments, and Michael Moore's Roger & Me placed far more interpretive control with the director. The commercial success of these documentaries may derive from this narrative shift in the documentary form, leading some critics to question whether such films can truly be called documentaries; critics sometimes refer to these works as "mondo films" or "docu-ganda." However, directorial manipulation of documentary subjects has been noted since the work of Flaherty, and may be endemic to the form due to problematic ontological foundations.
Paragraph Title: Modern documentaries
Source Page: Documentary film

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