Download Modes of documentary

MOD ES OF DO CUME N T A RY
In h is 2 0 0 1 b o o k , In t r o duc t i o n t o D ocu me n t a r y ( In di an a Un i v e rs i t y P r ess),
Bill N ich ols defi n es t h e f oll o wi n g s ix m o d es of docu me n t a r y :
1. The Poetic Mode ('reassembling fragments of the world', a transformation of
historical material into a more abstract, lyrical form, usually associated with 1920s and
modernist ideas)
2. The Expository Mode ('direct address', social issues assembled into an
argumentative frame, mediated by a voice-of-God narration, associated with 1920s1930s, and some of the rhetoric and polemic surrounding WW2)
3. The Observational Mode (as technology advanced by the 1960s and cameras became
smaller and lighter, able to document life in a less intrusive manner, there is less
control required over lighting etc, leaving the social actors free to act and the
documentarists free to record without interacting with each other)
4. The Participatory Mode (the encounter between film-maker and subject is recorded,
as the film-maker actively engages with the situation they are documenting, asking
questions of their subjects, sharing experiences with them. Heavily reliant on the
honesty of witnesses)
5. The Reflexive Mode (demonstrates consciousness of the process of reading
documentary, and engages actively with the issues of realism and representation,
acknowledging the presence of the viewer and the modality judgements they arrive at.
Corresponds to critical theory of the 1980s)
6. The Performative Mode (acknowledges the emotional and subjective aspects of
documentary, and presents ideas as part of a context, having different meanings for
different people, often autobiographical in nature)
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Mich ael W e i n be r g e r ’s def i n i t i o n of a doc u m e n t a r y (f r o m h is we bs i t e
“D ef in i n g D ocu me n t a r y F i l m ”
1. It must attempt to tell the truth – that includes providing multiple perspectives on
the topic or event. Like the nine blind men and the elephant metaphor, it takes more
that one perspective to provide the “whole” truth.
2. It must appear to do so by present only factual evidence – a good documentary
starts with rigorous, in-depth research – the author is dedicated to NOT inventing but
building understanding and perspective by the art of arranging the facts into a pattern
of understanding.
3. It must not attempt to re-create or distort the truth – taking poetic license
(imaginative interpretation), constructing intentional bias or developing a singular
perspective threatens the credibility of a good documentary moving into more fiction
or slanted truth than fact.
4. It must be objective – that doesn’t mean you can’t have a strong and overt pointof-view – in fact a personal reflection of how the topic matters and connects either to
individuals, communities or humanity is essential in order to push the body of
information beyond summary reporting -- but these embedded perspectives must be
ethically grounded in accuracy.
5. It must present all factual evidence in its original context and form – an abundant
amount of primary sources needs to be incorporated, documented and credited as part
of the product – this builds credibility for the documentary.
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