Since documentary, by its very nature, presents itself as factual, there are concerns about where the boundary emerges between the truth of the subject and the fiction produced by its creator. Since everything that has been changed has by definition removed some aspects and improved others, at best there must be an innocent natural bias formed by individual perception and, at worst, intentionally manipulated misinformation. By researching various sources, I intend to discover the difference (if any) between these two methods of fact-based program making, to determine any variables that lie in the "gray area" between the two extremes, and to ascertain the different forms of conducted in what truth (and consequently the documentary) can be presented to the public, and with what effects? This report aims to shed light on some elements of documentary filmmaking that are perhaps most susceptible to influence by the filmmaker, and once again explore the effect of these decisions on audience reaction to the information presented. Corner, J. ed., 1986. Documentary and the mass media. Suffolk: Richard Clay ltdThis book contains, among other things, an in-depth account of the foundations of documentary, particularly its British base and its early days through the medium of radio. Contains quotes and journal excerpts, as well as interviews with some of the leading figures of early documentary programming during the first half of the 20th century, before leading to the mass observation experiments that began in the late 1930s. The book describes the departure of the documentary format from the BBC's London base under the leadership of Hilda Matheson and Charles Siepmann, who moved their mobile recording units into what was... medium of paper... documentary film. by definition it must include visual elements, but Ames aspires to explain how emphasis on certain images can be used to persuade as well as inform. Works CitedCorner, J. ed., 1986. Documentary and the mass media. Suffolk: Richard Clay ltdDavies, N. 2008. Flat Earth News. London: Random House PublishingControl Room, 2004. [Film] Directed by Jehane Noujaim. Iraq: World Cinema ltd. Waltz with Bashir, 2008. [Film] Directed by Ari Folman. Israel: Artificial eye.Tompkins, C., 2009. The paradoxical effect of documentary in “Central do Brasil” by Walter Salles. Studies in 20th and 21st Century Literature 33 no1 p9-27Zeitgeist, 2007. [Film] Directed by Peter Joseph. USA: Published via the Internet. Available at http://www.zeitgeistmovie.com. [accessed 03/14/2010]Ames, E,. 2009 Herzog, Landscape and documentary. Cinema Journal v. 48 n. 2 pages46-69.