In the film, renowned comedic actor and writer Baron Cohen plays the role of Borat, a news reporter from Kazakhstan who travels across America “to learn a lessons for Kazakhstan,” which he proclaims in a fake “Kazakh” accent. Ultimately, this paper will argue that instead of defining more explicit guidelines, we should consider documentary filmmakers as artists and their documentaries as art, and allow them, within moral reason, the creative freedom that these titles imply.īorat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan, a documentary by Sacha Baron Cohen, does not simply cross lines it plays hopscotch with them. Rather than denounce the film along with its critics, this paper will use Borat as a conduit for a discussion of the greater issue of the ethical guidelines of documentaries and how they are currently ambiguous and unnecessary. Drawing upon the expectations of documentary filmmaking as defined by scholars such as Calvin Pryluck and Jay Ruby, this paper will first introduce the subject of documentary ethics and then delve into Borat ’s position in relation to the defined ethical limitations. This paper will explore the many criticisms of the film Borat and the flaws in the standards on which these criticisms were based.
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