Achieve nonlinear storytelling in a documentary - Documentary Editing Evidentiary

Citation：

• Nichols, B. (2017). Introduction to documentary (Third ed.). Indiana University Press. 
• Dancyger, K. (2019). The technique of film and video editing: History, theory, and practice (Sixth ed.). Routledge, an imprint of the Taylor & Francis Group. https://doi.org/10.4324/9781315210698

Annotation：

• Editing (Leaps of Time and Space)
• In "Introduction to Documentary," author Bill Nichols discusses methods of editing in documentaries concerning time and space. He states, "Documentary story editing needs to be based on evidence. This evidence should follow the actions of the central characters within scenes, achieving temporal and spatial jumps while ensuring the content remains coherence and authentic."
• Ken Dancyger also mentions in his book that the coherence and authenticity of non-linear storytelling can be ensured through well-crafted structuring.  He suggests that by organically integrating elements such as events, locations, and time, the narrative can achieve greater continuity.  This approach not only enhances the audience's understanding but also allows them to engage more deeply with the protagonist's experiences.
• 编辑（时间和空间的跳跃）
• 在《纪录片导论》（Introduction to Documentary）一书中，作者比尔·尼科尔斯（Bill Nichols）讨论了关于纪录片中时间和空间剪辑的方法。他提到，“纪录片的故事编辑需要基于证据。这些证据应跟随中心人物的行为在场景中进行剪辑，既能实现时间和空间的跳跃，又能确保内容的连贯性和真实性。”
• 同时，Ken Dancyger在书中提到，可以通过精心设计的结构来确保非线性叙事的连贯性和真实性。他建议通过事件、地点和时间等要素的有机结合，使叙事更加连贯，并帮助观众更好地理解和参与主角的经历，从而达到感同身受的效果。

Film Citation:

• Field, C. (Director). (1980, September 27). The Life and Times of Rosie the Riveter. Clarity Films.

Annotation:

• In the film "The Life and Times of Rosie the Riveter" (1980), director Connie Field exemplifies this approach by using "documentary editing evidentiary" to achieve the leaps in time and space. The director uses historical archive footage and photographs to depict how the government encouraged women to enter the labor force during World War II (past). Simultaneously, this historical evidence is juxtaposed with contemporary interviews showing how the government later urged these women to leave the workforce (present). By leveraging historical materials, the film achieves jumps between two time periods, maintaining non-linear storytelling without compromising authenticity.
• 在电影《铆钉女工的生与时》（The Life and Times of Rosie the Riveter，1980）中，导演康妮·菲尔德（Connie Field）通过证据剪辑来实现时间和空间的跳跃。导演利用历史档案中的视频和图片作为依据，展现二战期间政府如何鼓励女性进入劳动市场（过去）。同时，依靠这些历史证据，通过现实采访展现政府是如何敦促她们离开的（当下）。通过历史材料完成两个时间段之间的跳跃，在不影响真实性的前提下实现了非线性叙事。

Film Citation 2：

• Malick, T. (Director). (1998, December 25). The Thin Red Line. 20th Century Fox.

Annotation：

• In this film, the Battle of Guadalcanal serves as the central structuring device that permeates the entire narrative.  Firstly, this battle is a historically real event.  The director fragments the narrative into multiple disjointed segments, weaving together each character's memories, thoughts, and emotions, thus creating a complex web of storytelling.
• 在这部影片以瓜达尔卡纳尔岛战役为塑造装置贯穿整部影片。首先这个战役时真实存在的，导演通过将影片的叙事分成了多个碎片化的片段，将每个角色的回忆、想法和感受都交织在一起，形成了一个复杂的叙事网络。

Used in my film:

• In my film, the evidence bridging the story's timeline is my diary.  This diary runs through the entire narrative.  The film begins on June 7, 2024, and as I open the diary to narrate my story, time rewinds to November 27, 2023, the diary's starting date.  Through the diary's contents and records from that year, I crafted a non-linear narrative structure.
• Relying solely on the diary to present the story would make the documentary overly subjective.  However, objectivity is an indispensable element of documentaries.  Therefore, in the latter half of the film, I chose to close the diary and present stories beyond it from an objective perspective.  This approach aims to impartially showcase each character's viewpoints and reveal details overlooked under subjective emotions.
• At the film's conclusion, the diary reappears alongside my statement, "This is my story," bringing the film to an end.  Throughout, the diary serves as evidence, capturing and documenting my genuine reactions.  It is through this diary that the past and present intertwine harmoniously.
• 在我的影片中，连接故事时空的证据是我写的日记。这本日记贯穿了整个故事。影片的开头日期是2024年6月7日，当我翻开日记开始讲述我的故事时，时间回溯到了2023年11月27日，也就是日记的起始日期。通过日记的内容和这一年的记录，我构建了非线性叙事的结构。
• 如果仅仅依靠日记呈现故事，那将使得纪录片过于主观。然而，客观性是纪录片不可或缺的要素。因此，在影片的后半部分，我选择合上日记，通过客观视角展现日记之外的故事，这样做是为了公正地展现每个角色的观点，揭示主观情绪下被忽略的细节。
• 影片的结尾再次出现了这本日记，伴随着我说出的一句"这就是我的故事"，影片也随之结束。从始至终，日记作为纪录的证据存在，它捕捉并记录了我真实的反应。正是因为有了这本日记，才能够将过去和现在有机地结合在一起。