IntroductionThe idea of ​​objectivity remains a highly questionable topic among philosophical elites. Some philosophers might argue that human understanding of objectivity is subject to the scope of understanding of the term and exposition (Livingstone & Plantinga 10). When the term objectivity is intertwined with realism, it produces a complex idea that remains highly questionable and less welcome among scholarly authors (Livingstone & Plantinga 23). However, to understand and appreciate the concept of realism and objectivity in cinema, it becomes essential to adopt a precise definition. First, the term reality in the film is used to describe concepts visible in nature experienced in everyday life by one or more individuals (Livingstone & Plantinga 24). The term objectivity in this case is used to define a set of ideas or perspectives incorporated into the film (Livingstone & Plantinga 24). Documentaries are used to create a form of reality, an experience or ideation of the person or group of people experiencing an event or phenomenon. The argument in this analysis is that it is impossible for documentary films to objectively capture reality. Objectivity in Screenwriting and Structure Traditional ideas in film and documentary have been to create scripts that are structures to fulfill a pre-established idea. The challenge with screenwriting an idea is that the screenwriters have a subjective view of the documentary. The breadth of documenting a situation is limited by the script, making it impossible for a documentary film to capture objective realism in its work. To understand the subjective idea of ​​the film script, one must consider the various possibilities of changing a section of a scene. There are countless po... middle of paper... Heila Curran. Documentary storytelling for videos and directors. USA: Focal Press Publications, 2004. Print.Das, Trisha. How to write a screenplay for a documentary: a monograph. United States: Oxford University Press, 2007. Print.Livingstone, Paisley and Carl Plantinga. The Routledge Comrade on Philosophy and Film. London: Routledge – Taylor & Francis Group. 2009. Print.Nichols, Bill. Introduction to the documentary. Bloomington, Indiana: Indiana University Press. 2001. Stampa.Fiumi, Tina. “From Alienation to Hallucination: The Fall and the Political Perception of the 1960s by Peter Whitehead.” Paintings 52.1 (2011): 426-457. Print.Tarkovsky, Andrey. Sculpting in time: the great Russian director talks about his art. Russia: Soviet State Film School. 1986. Print.Williams, Linda. “Mirrors without memory. Truth, history and the new documentary. Film Quarterly 46.3 (1993): 9-21.