Here are some reflections on your documentary questions: 1) Whether Moore's manipulation matters depends on the filmmaker's goals and the viewer's expectations. Some see it as problematic, others as an effective technique. 2) Liking the subject is not necessary to appreciate a film. Films can be compelling even if we disagree with or dislike the subject, by virtue of craft, storytelling, issues raised, etc. 3) Staging some scenes is common and not inherently problematic, but it depends on context and degree. Complete fiction posing as documentary would undermine trust. Strategic staging can enhance storytelling if the overall goals are documentary. 4) Archive material alone can be enough if it thoroughly illustrates the filmmaker's

1. Revising Documentary 2012
SPECTATORSHIP

2. Revising Documentary 2012
General Advice
Analyse scenes using micro analysis
Prove you've seen the films!
Use PEE structure
Director and year
Explore the question
It isn't just about whether we believe it or not
(that is too simplistic)
It is an exam about spectatorship so you need
to bring in ideas about this

3. Revising Documentary 2012
1) Compare different documentary techniques employed to present the 'real',
discussing their impact on the spectator. Refer to at least two documentaries you
have studied.
2) Do you agree that as spectators we are more likely to accept at face value
what we see and hear in documentary films?
3) How far is it preferable as a spectator to be presented with a documentary that
offers a very definite point of view towards its subject? Refer to the films you have
studied for this topic.
4) ‘For the spectator, the viewing of documentary films is really no different from
that of viewing fiction films.’ With reference to the films you have studied for this
topic, how far do you agree with this view?
5) ‘Watching real people and real events in documentaries creates a very
particular relationship between the spectator and the screen.’ How far has this
been your experience of the films you have studied for this topic?
6) ‘The best documentaries are the ones that make their point of view clear.’ How
far do you agree?
7) With reference to the films you have studied for this topic,how far can it be said
that different kinds of documentaries offer different kinds of spectator experiences?
8) ‘Documentaries should never be trusted.’ How important to the spectator is the
sense that they should trust the documentary filmmaker? Refer to the films you
have studied for this topic.

4. Revising Documentary 2012
1 2 3 4
Talking head of Philip Petit Reenactment of Annie recalls the Reenactment of
discussing when the police the twin towers beauty of the moment young Petit as a
told him to come down. break-in when she looks up to street entertainer.
see Petit on the wire.
Question: Compare different documentary techniques employed to present the 'real', discussing
their impact on the spectator. Refer to at least two documentaries you have studied.
Which is most relevant scene/moment to use to answer this question. Put them in
order of relevance (1 being the most, 4 being the least)
Reason for choice 1

5. Revising Documentary 2012
5 6 7 8
Jean-Louis breaks down
Archive photos reveals with emotion when recalling Archive footage Present day - Petit
the crowd below in awe the breakdown of the shows Petit being demonstrates he is still
at the wire walk. friendship. arrested. a skillful wire walker.
Question: ‘For the spectator, the viewing of documentary films is really no
different from that of viewing fiction films.’
Which is most relevant scene/moment to use to answer this question. Put them in
order of relevance (1 being the most, 4 being the least)
Reason for choice 1

6. Revising Documentary 2012
What key moments/scenes would be
the most relevant to use?
Question:
‘Documentaries should never be trusted.’ How important to the spectator is the
sense that they should trust the documentary filmmaker? Refer to the films you
have studied for this topic.

7. Revising Documentary 2012
Corrections
this should say
Grizzly Man
In Grizzlyman the scene with the coroner demonstrates
Herzog's use of the 'set-up' to tell the story he wants.
this should say
Medium Close up
The talking heads are clever devices which allow the spectator
to feel the enthusiasm of the protagonist. The close up,
coupled with the gregarious body language of Petit's make us
feel his passion.
The rapid cutting and cartoon voices of the animated 'brief
history of America' montage add to the comedic effect resulting
in the spectator finding it easy to mock the politics of the left in
the same way Moore does.
this should say
Right

8. Revising Documentary 2012
3 QUESTIONS TO
CONSIDER
1) How similar are non-fiction films to fiction films?
2) What is Herzog's POV in Grizzly Man?
3) Why are we more likely to accept what a
documentary shows us?

9. Revising Documentary 2012
Introductions?
Write an introduction to one of the
questions.
This should answer the question in some way
and
immediately show a good grasp of the topic.

10. Revising Documentary 2012
Compare different documentary techniques employed to present the 'real',
discussing their impact on the spectator. Refer to at least two documentaries
you have studied.
In Grizzly Man on of the techniques that Herzog employs is the construction
of a 'staged scene'. We cut to a long shot of the coroner where he stands
almost as if waiting for his cue on stage. He begins to narrate, through direct
address, the mauling of Treadwell and his girlfriend, Amy. His tone and body
language is theatrical and as the camera creeps closer to his sympathetic
face, it becomes quite clear that the story is embellished. These include
details of how Amy remained loyal and did not run away. Suddenly he ceases
talking and in dramatic fashion, the camera tracks back leaving us to think
about and imagine the horror of the situation. This leads me to question
Herzog's intentions here. I can only conclude that the obvious and purposeful
fictionalization of the 'evidence' is to offer me a version of the 'truth' The
filmmaker doesn't attempt to hide the obvious artifice behind this scene and
this forces the spectator to confront their own ideas of the purpose of a
documentary.

11. Revising Documentary 2012
Reflecting on Documentary
1) Does it matter that Moore
manipulates us?
2) Do we have to like the subject to
like the film?
3) Does it matter if some scenes are
staged?
4) Is archive material enough in
Senna?