Documentary films

Documentary films are nonfictional motion pictures that are used to document an aspect of education, reality, and education in general and keep historical records. Digital and video output, which can be television shows or direct to video, are included. There should be ethical issues that should be followed for a documentary filming to be good.
First, the filmmaker should provide the audience with factual details by getting to the heart of the story and telling an actual story. This piques the public’s interest, making them excited to see the rest of the film. However, the morality of the movie plays vital aspect, which should be taken into consideration (Notley et al. 6). The filmmaker should avoid the molestation of the young children as this will encourage children been molested and heinous murderers. Filmmakers should also set rules between them and the subject of the film to ensure that they do not close the lines such as ending in doing immoral activities such as sex.

The altitude of the filmmaker is a crucial aspect of the building and staging the film as the question as arises whether the filmmaker should follow the journalistic codes of ethics. The central point of ethic is the relationship between the filmmaker, the subject, and the viewer of the film. The story created should put the audience inside an experience. The filmmakers should ensure that anyone they work with them understands the nature of the project and how they will be used in the contribution of the film. However, they should adhere to the law and seek permission whenever they are shooting (O’Boyle et al. 339). The filmmaker should be in depended on by avoiding conflict of interest and disclosure of avoidable conflicts.

Stakeholders play a significant role in the project, and they determine the success or failure of the project. The primary stakeholders have the substantial interest of the project because they are affected directly by the outcome of the project. Customers of the films as well as project managers, project sponsors, and team members are the main primary stakeholders of the development of the movies. Project sponsors are the controller and the key influence on the vision and the success of the project. They make a decision in implementation and control project managers (Notley et al. 10).Similarly, provide the resources and the finances to fund the entire project. Secondary stakeholders are the one who assists with financial legalities and the administrative processes of the project. They include government, media, associations and banks.

Project sponsors, customers, and project managers are the core principle who care about the ethics of the films. Both the project managers and sponsors determine the subject of the movie which adheres to all the ethics of filming where else the customers satisfy if the subject is truth and valid. Through their objectives, they determine the morality of the story created to ensure it’s ethical for customer viewing. They respect the integrity of the people featuring in the cooperative film to make sure that their opinions and ideas are represented in original and the intended context. Moreover, support vulnerable people and marginalize people who come in contact with the film in the project (O’Boyle et al. 330).similarly, should learn and listen through all the aspect of the production of the movie.

Project managers and sponsor should follow all the principles regarding filming. They should place all welfare of the subject above all other activities.it is obnoxious to restrain and restrict any animal in any way to attract predators. Ensure themes are not caused by any anxiety, consequential predation and physical harm by the activities (O’Boyle et al. 336).

Work cited

Notley, Tanya, A. Lowenthal, and S. Gregory. “Video for change: Creating and measuring social impact.” (A working paper by the Video4Change network). (2015): 1-20.

O’Boyle, Edward J., and Luca Sandonà. “Teaching business ethics through popular feature films: An experiential approach.” Journal of Business Ethics 121.3 (2014): 329-340.

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