4. ‘Truth’?
The power of documentary to reveal a ‘truth’ grants it
special status
To ‘document’ a subject implies keeping a factual
record for future reference
4
6. Expositional documentary
See Bill Nichols (1991/2004)
Tended to depict institutions, communities
and traditions
Public mode of address:
Highly formal
Serious
Educational
Aimed at informing citizens in a mass
democracy.
6
7. Observational documentary
1950s onwards
cinema vérité (‘cinema truth’ or ‘direct
cinema’)
observe and record the reality of
everyday life as it happened without the
usual organisational planning and
structured direction
7
12. Genre hybrids – ‘fly on the wall’
Paul Watson’s The Family (1974/2008)
Roger Graef’s Police (1982)
Filming events exactly as they happened
Agreeing in advance the specific subjects
to be filmed
Showing the edited version to the
participants, but only to ensure any factual
errors may be corrected
12
13. Critique
‘To be sure, some documentarists claim to be objective –
a term that seems to renounce an interpretive role. The
claim may be strategic, but it is surely meaningless.
The documentarists, like any communicator in any
medium makes endless choices. He (sic) selects
topics, people, vistas, angles, lens, juxtapositions, sounds,
words.
Each selection is an expression of his point of
view, whether he is aware of it or not, whether he
acknowledges it or not.’
Erik Barnouw (1993: 287)
13
16. Contemporary developments
Genre hybridity
Deregulation of broadcasting
Competition for attention
Driving School (BBC, 1997)
11 million viewers
16
17. Participatory mode
Welcomes direct engagement
between filmmaker and subject(s)
Filmmaker:
becomes part of the events being
recorded
is acknowledged (even celebrated) for
their impact on events
Michael Moore
Nick Broomfield
17
18. Reflexive mode
Acknowledges the constructed nature of
documentary
Artifice is exposed
Not ‘truth’ but a reconstruction of ‘a’
truth, not ‘the’ truth
Frequently features the film-maker making
the documentary
De-mystifying its processes
18
20. Performative mode
Emphasizes the subjective nature of the
filmmaker
Polemical, evocative and aiming for affect
Morgan Spurlock
Louis Theroux
Nick Broomfield
Michael Moore
20
21. Authored documentaries
Fronted by an investigative anchor who is
frequently positioned at the centre of an
unfolding narrative
A meta commentary (often via voice-over)
on the nature of documentary making and
representation as processes of construction
Deeply personal
21
34. Summary
Long history of documentary production – origins in
educating with the aims being to bring about social
change.
Special power of documentary to report the ‘truth’ – to
expose hidden agendas and ideological malfeasance.
However, this attempt to speak to the truth is also
ideological – the film-maker selects what should be
seen, structures it, etc.
Various genre transformations to draw attention to the
constructed nature of the format
34
35. Sources
Erik Barnouw (1993), Documentary: A History of the Non-Fiction
Film, Oxford University Press
Stella Bruzzi (2000), New Documentary: a critical introduction, London:
Routledge
Simon Cottle (2009) Global Crisis Reporting: Journalism in the Global
Age
Bill Nichols (2004) Introduction to Documentary - 2nd
Edition, Bloomington, Indiana University Press.
Amir Saeed (2007) 'Media, Racism and Islamophobia: The
Representation of Islam and Muslims in the Media', Sociology Compass
(1) (2007) (available at http://www.blackwellsynergy.com/doi/pdf/10.1111/j.1751-9020.2007.00039.x)
35
Notas do Editor
Key Examples of the Reflexive Mode include:DzigaVertov'sMan with a Movie Camera (1929) - documents the mechanization of Soviet life in late 1920s - the mechanical camera and cameraman become part of the subjectThe art of making pictures is part of this "new" mechanical work and it to is part of the film - we literally at points in the film see the film being constructed Perhaps a film like Catfish or Exit Through The Gift Shop might fit this bill?