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It analyses those pathways and the transformation of means of production through economic, technical and editorial changes. The book charts the evolution of the documentary from screen art to core television genre, its metamorphosis into many different types of factual television programmes and its current emergence in new forms. Hence, it’s an essential introduction to the genre, its theory and changing practices. Nazimuddin takes a thematic approach to documentary, including chapters on the many myriad forms we watch today. Nazimuddin’s book on documentary, which is also defined as ‘creative use of actuality’, is an exceptional effort and the most important angle of looking at it is that owing to this book, we in Pakistan no longer remain poor in this field.”Ī first-of-its-kind book in Urdu tracing the history and evolution of documentaries is particularly notable for its documentation of the genre in Pakistan Otherwise, at Mass Communications departments in all our universities there’s everything to tell about the United Kingdom and the United States, but nothing about ourselves.
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Perhaps the most authentic observation on Nazimuddin’s book comes from Dr Nisar Ahmed Zuberi, senior professor of Mass Communications at the University of Karachi, who writes in his comments included in the book: “With renewed regret at first about why our professional people do not write books on their respective fields, I was gladdened to see that Nazimuddin has fulfilled a great need by doing that.
The author, who resides in Canada these days and continues to work in television, notes in the preface that he wrote the book basically to document what he has learned about documentary filmmaking through study, research and, above all, his hands-on experience spanning almost five decades.
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The best of his work includes Nishan-i-Rah, a 10-part series on Pakistan’s national anthem, national flag, national language, national language and currency coins and notes Thar: Land and People, which received a special prize from the Asia-Pacific Broadcasting Union, Australia Shoba-i-Ishtiharat Ka Safar, produced in line with PTV’s Silver Jubilee Celebrations and Peoples and Dwellings in Japan. Nazimuddin fully qualifies to have undertaken this endeavour because of the numerous documentaries he has directed and produced, many of which have received awards and honours at national and international levels. It is the first ever book written on the subject in Urdu and its scope and content suffice to serve both as an academic text for students of mass communications and filmmaking as well as a handbook for budding professionals in the field. Now, Nazimuddin - a former director and producer of documentaries at PTV (1975-2003) - has gone a step ahead to compile his knowledge and experiences with Documentary: Tareekh-o-Irtiqa. In our country, the state-owned Pakistan Television (PTV) has upheld the mantle of documentary production since its inception in the mid-1960s. Broadcast television has since saved the non-fiction form by producing more and more documentaries and then taking them to ever-larger audiences through dedicated television channels.
But soon the scene changed and cinema came to be identified more with the fictional product. Although the term ‘documentary’ was not standard back then, recording actual occurrences was a common practice in the medium’s beginning, when non-fiction films outnumbered fictional narratives. The desire to capture lived reality on film has animated the spirit of cinema since its earliest years.
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