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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) 1 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. 2