Documentary modes.pptx

Poetic documentaries, which first appeared in the 1920s, are
exactly what they sound like. They emphasise encounters,
pictures, and presenting the world to the audience from many
perspectives. The poetic subgenre can be quite unorthodox and
experimental in style and substance since it is abstract and
free with narrative. Instead of achieving a truth, the ultimate
objective is to evoke a sensation.
This method teaches filmmakers how to experiment with all the
elements of documentary filmmaking by coming up with imaginative
compositions, thought-provoking juxtapositions, and unique
cinematic narrative techniques. Terrence Malick's Journey of
Time, which features a tonne of confusing, poetic, abstract
imagery, is a contemporary example of this. Even if there is
some narration scattered throughout the picture, I would still
classify the most of it as poetry.

The linear continuity of a poetic documentary is sacrificed in favour of
the atmosphere, tone, or the juxtaposition of images. The director of
photography is frequently requested to take beautifully framed,
aesthetically arresting photographs that may tell a tale without extra
spoken context because lyrical documentaries frequently have little or
no narrative material. An example of a poetic documentary that combines
imagery and aesthetics to assist disclose an inner truth is Leni
Riefenstahl's Olympia (1938).
Early documentarians adapted Soviet montage theory and the photogenie
concept from French Impressionist cinema into documentary filmmaking to
produce what Nichols would later refer to as the poetic style. When he
stated that "kinochestvo" (the quality of being cinematic) is "the art
of organising the necessary movements of objects in space as a
rhythmical artistic whole, in harmony with the properties of the
material and internal rhythm of each object," documentary pioneer Dziga
Vertov came remarkably close to defining the mode. (1984) Michelson,
O'Brien, and Vertov.

In its poetic form, documentary movies frequently present their
own personal perspectives on their subjects (s). Documentaries
shot in the poetic form are sparse on rhetoric and eschew
standard narrative content, leaving individual characters and
events undeveloped in favour of conveying a specific atmosphere
or tone. This is especially evident in the editing of lyrical
films, because maintaining continuity is essentially of no
importance. Poetic editing, on the other hand, looks at
"associations and patterns that involve temporal rhythms and
spatial juxtapositions." (1991, Nichols) The poetic form is
exemplified by Joris Ivens' Regen (1929), which combines random
images to portray a downpour in Amsterdam.The poetic form is
frequently seen as avant-garde since it depicts such irrational
feelings with little to no rhetorical meaning, and later works
in this manner (Godfrey Reggio's Koyaanisqatsi (1982), for
example) are probably included in that category.

Poetic Documentaries Examples
● Coal Face (1935) — Dir. Alberto Cavalcanti
● Fata Morgana (1971) — Dir. Werner Herzog
● Tongues Untied (1989) — Dir. Marlon Riggs
● Welt Spiegel Kino (2005) — Dir. Gustav Deutsch

The closest thing to what most people think of as
"documentaries" is definitely expository documentaries.
Expository documentaries strive to inform and/or persuade, in
stark contrast to poetic documentaries, frequently through
omnipresent "Voice of God" narration free of ambiguous or
lyrical vocabulary. The popular Ken Burns and television (A&E,
History Channel, etc.) styles are included in this model.
The straightforward expository approach is the most direct in
documentary storytelling, therefore consider using it. It is
among the best methods for disseminating a message or
information. The video essay would be the best modern genre or
style to compare this to, in my opinion. So consider something
like Nerdwriter that discusses a certain issue with engaging
pictures and clear narration that supports their claim.

Expository documentaries provide a certain point of view or
argument regarding a topic and frequently use voice-over in
the "voice of God" manner. For explanatory documentaries, the
cinematographer is in charge of gathering video, such as
stock footage, archival footage, b-roll, or reenactments of
historical events, that strengthens and supports the stated
argument of the film. The documentary The Dust Bowl (2012) by
Ken Burns tells the story of the terrible drought that
happened during the Great Depression. Burns supplements his
explanation of the causes and effects of one of the greatest
droughts to ever affect farming in North America with images
and statistics.

John Grierson, a pioneer of documentary film, provides an explanation for the shift
away from lyrical documentary, saying, "was sucked into social propaganda... We
moved on to discuss global societal issues, departing from the lyrical flow
ourselves." Sussex in 1972 The expositional method, which places a strong focus on
rhetorical content and has goals of information transmission or persuasion, differs
significantly from the poetry mode in terms of visual practise and story-telling
techniques.
A unique novelty of the documentary's expositional technique is narration. Narration
carries the weight of explaining and justifying a movie's rhetorical substance,
first seeming as an omniscient, omnipresent, and objective voice intoned over video.
The poetic method of documentary relied on the filmmaker's aesthetic and personal
interpretation of a subject, whereas the expositional mode gathers material that
supports the spoken narrative.As a result of this change in visual strategy,
expositional images are now edited in a way known as "evidentiary editing," in which
they "illustrate, illuminate, provoke, or act in contrast to what is said. We take
our lead from the commentary and understand the images as evidence or demonstratio."
107; Nichols, 2001 The engagement of rhetoric with expositional-based visual data
support continues today and really makes up the majority of documentary content. Its
usefulness as a means of information delivery is largely relied upon in news
reports, feature films, and numerous television programmes.

Expository Documentaries Examples
● The Plow That Broke the Plains (1936) — Dir. Pare Lorentz
● City of Gold (1957) — Dir. Colin Low and Wolf Koenig
● Waiting for Fidel (1974) — Dir. Michael Rubbo
● March of the Penguins (2005) — Dir. Luc Jacquet

Documentaries with an observational focus seek to document
their surroundings. The Cinéma Vérité-style, which emerged in
the 1960s along with improvements in portable film equipment,
is significantly less focused than the explanatory method.
Observational documentaries provide viewers exclusive access
to some of the most significant (and frequently intimate)
moments in the subject's life in an effort to represent all
sides of a debate. Filmmakers frequently use the
observational method in other film genres to convey a sense
of reality and truth because it has had such a significant
impact throughout the years. One of the most well-known
examples of this is the Barbara Kopple film Harlan County,
USA.

This is the best illustration of "cinema verité" as it relates
to observational documentaries. Kopple follows her subjects
about with an objective view using a handheld method and an
empathic lens; it is unvarnished, real, and the storytelling is
flawless. If you enjoy filming observational-style
documentaries, make sure you have a telephoto lens on hand
because the secret to producing one is to follow the action and
be prepared to record what is happening at any time.
Throughout his career, one director has exclusively produced
observational documentaries, and he also happens to release a
movie practically every year. He goes by the name of Fred
Wiseman, and he's possibly my favourite director. Consider his
documentary, Boxing Gym, which is just that—a look at one boxing
facility and all the clients—as one example. You sit next to
them the entire time while they share their experiences and
admit their doubts, worries, and failures.

By posing as a fly-on-the-wall and observing the subject's
real-life without interfering, observational documentaries, a
form of documentary popularised by the cinema verité
movement, seek to learn the ultimate truth about their topic.
On observational documentaries, the cinematographer is
frequently asked to be as discrete as possible in order to
catch their subjects in a natural, unguarded condition. The
1960 documentary Primary, which follows the Wisconsin primary
between John F. Kennedy and Hubert H. Humphrey, is an
illustration of this direct cinema style of documentarian.

After the return of documentarians to Vertovian notions of
truth, as well as the advancement and development of
cinematic hardware in the 1960s, the observational form of
documentary emerged. "I, a camera, fling myself along," Dziga
Vertov wrote in the manifestos for his Kino-Eye movement. "I
manoeuvre in the maelstrom of movement, recording movement,
shocking with motions of the most complicated combinations."
(1984) Michelson, O'Brien, and Vertov Documentarians were
able to eschew the tripod's fixed point when they switched to
16mm equipment that was lighter and shoulder-mounted cameras.
The documentarian was freed from heavy audio gear thanks to
portable Nagra sync-sound systems and unidirectional
microphones. Now that Vertov's goal could be realised by a
two-person film crew, the documentary genre was seeking
actual truth.

In contrast to the subjective nature of poetic films and the
rhetorical emphasis of expositional documentaries, observational
documentaries typically focus on simple observation, leaving
viewers free to draw whichever conclusions they see fit. There
were basic rules that had to be followed for pure observational
documentaries: no narration, no scene-setting, no interviewees,
and no music. The "fly on the wall" viewpoint is favoured, while
editing techniques favour long takes and little cuts.The
resulting video gives the impression that the viewer is
experiencing the experiences of the subject firsthand. For
example, in D.A. Pennebaker's Don't Look Back [sic] (1967), they
travel to England with Bob Dylan, in Frederick Wiseman's Titicut
Follies (1967), they endure the harsh treatment of patients at
the Bridgewater State Hospital, and in Robert Drew's Primary,
they go on the campaign trail with John F. Kennedy and Hubert
Humphrey (1960.)

Observational Documentaries Examples
● Crisis: Behind a Presidential Commitment (1963) — Dir. Robert
Drew
● Salesman (1969) — Dir. Albert Maysles, David Maysles, and
Charlotte Zwerin
● Hoop Dreams (1994) — Dir. Steve James
● The Monastery: Mr. Vig and the Nun (2006) — Dir. Pernille Rose
Grønkjær

Participatory documentaries incorporate the director into the
story. This involvement can be as modest as a filmmaker
asking questions or giving hints to their subjects while not
in front of the camera or as significant as a filmmaker
directly affecting the plot. In the aforementioned
illustration, Michael Moore has a direct impact on how his
subjects respond to his questions and, as a result, has a
participatory impact on the film's overall storyline. We'll
talk more about Michael Moore in a moment, but he is a very
difficult director.
The amount of filmmaker involvement necessary to qualify a
documentary as "participatory" is a topic of some discussion
in the documentary field. Some claim that all documentaries
are interactive by their very nature. Whatever the case,
beginners might find this technique to be the most natural.

The engagement between the documentary filmmakers and their
topic is what gives participatory documentaries its name. As
a result, the interviewer and interviewee must both be
captured by the cinematographer. Participatory documentaries,
often referred to as interactive documentaries, emphasise
direct contact with subjects and record authentic emotional
responses and exchanges. They frequently promote the
filmmaker's perspective of the truth as "the" reality.
Several exchanges that are recorded lend credence to the
filmmaker's viewpoint or demonstrate the film's purpose.
Michael Moore's documentaries frequently involve audience
participation while also including elements of observational
and performative styles, such as Bowling for Columbine
(2001).

Free Solo is a contemporary illustration of this. Jimmy Chin
and Elizabeth Chai Vasarhelyi, the directors, frequently
discuss the issue and provide their ideas and influences to
the narrative. It's a delightfully bizarre look at how the
director is able to be so immersed in the subject matter
without becoming obtrusive. Nonetheless, there are passages
in the movie where they actually discuss how the documentary
crew's presence would influence how the plot turns out.

"The filmmaker does interact with his or her subjects rather than
unobtrusively observe them," according to the participatory mode. The film
explicitly states that this interaction—whether it takes the form of
cooperation or conflict between the director and contributor—creates
significance. Chronicle of a Summer by Jean Rouch, from 1960, is a prime
example of participative cinema. This can simply imply that the voice of the
filmmaker or filmmakers is audible in the finished product. What takes on in
front of the camera, according to Nichols, "becomes an index of the kind of
interaction between filmmaker and subject.
The filmmaker "becomes a social player (almost) like any other (nearly because
the filmmaker keeps the camera and with it a degree of potential power and
influence over events)" in the participatory style of documentaries, according
to Nichols (2010). (p. 139.) The voice of the director is revealed through
interviews as it mixes material about the tale they are attempting to tell.
The Interrotron, a device created by Errol Morris, serves as an illustration
of this. This device enables the subject to interact directly with the
director while maintaining eye contact with the camera.

Participatory Documentaries Examples
● Chronicle of a Summer (1961) — Dir. Edgar Morin and Jean Rouch
● Sherman’s March (1985) — Dir. Ross McElwee
● Paris Is Burning (1990) — Dir. Jennie Livingston
● The Danube Exodus (1998) — Dir. Péter Forgács

Participatory films and reflective documentaries both frequently
feature the filmmaker as a character in the movie. Contrary to
participation, most makers of reflexive documentaries don't even
try to delve into unrelated topics. Instead, they are just
concerned with themselves and the process of making the movie.
Man with a Cinema Camera, a 1929 silent documentary by Soviet
director Dziga Vertov, is the outstanding example of this genre.
It's a perfect example of the innovative and difficult pictures
a genuine reflexive documentary may produce.
This can be seen in contemporary works like Kirsten Johnson's
Cameraperson. The way this documentary tells a story about the
filmmakers themselves is amazing. Johnson creates a portrait of
who she is and what she sees as a filmmaker by only using photos
from cameras she has used on assignments throughout her career.

Documentaries that are self-reflexive emphasise the
connection between the filmmaker and the audience. A
cinematographer will record behind-the-scenes video of the
whole film production process, including editing, interviews,
and post-production, since the subject of documentary films
is frequently the process of making them. Man With a Movie
Camera, a self-reflective documentary by Dziga Vertov from
1929, is famous for its actor-free depiction of Soviet urban
life.

The reflexive mode analyses the documentary's inherent quality,
demystifying its mechanisms and analysing its ramifications.
Also, there are filmmakers in the movie. For instance, Dziga
Vertov included footage of his brother and wife working on
filming and editing, respectively, in Man with a Cinema Camera
(1929). To "assist the audience in their comprehension of the
process of construction in film so that they may develop a
sophisticated and critical attitude," it was intended to include
these images. (Ruby 2005) As it automatically and critically
questioned the observational mode, reflecting on observational
techniques and their ability to capture real realities, Mitchell
Block's...No Lies (1974) operated in a noticeably different
way.In this way, the reflexive mode of documentary frequently
serves as a kind of internal regulatory body, enforcing moral
and technical limits inside the documentary form.

One element of the reflexive method of documentary is the use
of reenactment. Direct communication with the audience occurs
when the director demonstrates their vision for the event or
assists the interview subject in visualising their vision. In
the documentary "The Thin Blue Line," Errol Morris used
reenactment video to illustrate the circumstances surrounding
a guy who was wrongfully accused of killing a police officer.
Morris believed it was best to employ visual aids to give the
viewers a better grasp of the situation since there was no
actual footage of the events that occurred.Reenactments can
be a useful tool for a director to employ to incorporate
their vision, but they greatly depart from the Cinéma vérité
type of documentary and are disliked by certain purists.

Reflexive Documentaries Examples
● …No Lies (1973) Dir. Mitchell Block
● Surname Viet Given Name Nam (1989) Dir. T. Minh-ha Trinh
● Biggie & Tupac (2002) Dir. Nick Broomfield

Performative documentaries emphasise subject experience and
share an emotional response with the world through an
experimental fusion of styles. They frequently link and
contrast intimate stories with more significant political or
historical themes. This is commonly referred to as the
"Michael Moore-style," as he frequently exploits his own life
experiences to create social realities (without having to
argue the validity of their experiences).
This can be seen in more modern works like Won't You Be My
Neighbor? a movie chronicling Mr. Rogers's life and
contributions. The video uses interviews as well as archival
TV programme footage, mixing various styles and tones to
produce an emotional gut punch towards the end that is
partially a result of the way the film is put together.

The aim of performative documentaries is the filmmaker's
interaction with the subject, which serves as a springboard
for examining more expansive, subjective facts about
politics, history, or particular racial or ethnic groups. A
cinematographer is frequently asked to cover the documentary-
making process as well as close-up shots that show the direct
and frequently intimate contact between subject and
filmmaker. The 2004 documentary Supersize Me by filmmaker
Morgan Spurlock details his 30-day fast food fasting
experience, tracking the physical problems, health issues,
and subsequent doctor visits in an effort to cast doubt on
the McDonald's fast food he consumed.

The third mode Nichols considers, the performative mode, is
readily mistaken with the participatory mode, and Nichols
remains vague about their differences. The fundamental
difference between the two modes appears to be that while the
participatory mode involves the filmmaker in the narrative while
attempting to construct universal truths, the performative mode
involves the filmmaker in the narrative while attempting to
construct personal truths that are important to the filmmaker
personally.The performative style, which is intensely personal,
is especially well suited to telling the stories of filmmakers
from socially marginalised groups because it allows them to
express their unique viewpoints without having to question the
veracity of their experiences, as in Marlon Riggs' 1990
documentary Tongues Untied about his experiences as a gay black
dancer in New York City. The performative film has far greater
creative licence in terms of visual abstraction, story, etc.
because it rejects a rhetoric of persuasion.

In contrast, Stella Bruzzi (2000) has a more expansive understanding of the
performative mode. Bruzzi contends that documentary films are by definition
performative because they are "inevitably the product of the intervention of
the filmmaker onto the scenario being filmed," which is a concept of the
performative inspired by J. L. Austin that Nichols ignores. Particularly,
according to Bruzzi, films that emphasise "artificialization through the
camera" are ideal illustrations of the performative style. The "performance
camera" documents by reenacting the subjective perspective of the subjects
(not necessarily that of the filmmaker) in the documentary films, expanding on
the topic of the performative mode by Nichols and Bruzzi.The performative
documentaries put the spectator in the subjects' shoes by "performing" their
points of view. Wang further distinguishes between "the critical performative
style," which pushes the audience to feel disgusted by, furious at, and
critical about the subjects, and "the empathic performative mode," which
encourages audience empathy with the subjects.

Rhetoric and argumentation return to the documentary film as the
director firmly emphasises a message now that they are openly discussing
their position on the film being created and are visible to the
spectator. Michael Moore is arguably the most well-known director now
using this documentary style.
In ethnographic movies like Jeff Himpele and Quetzil Castaneda's
"Incidents of Travel in Chichen Itza," the performative mode may also be
seen. The ethnographers in this visual ethnography of the spring equinox
cultural event that involves new age tourism at a revered Maya site in
Mexico both document the event and offer an ethnographic questioning of
the meanings that are projected on the tangible cultural artefacts that
draw 50,000 visitors to the equinox at Chichen. In contrast to Michael
Moore's performative documentaries, which have a clear takeaway message
and argument, the ethnographic filmmakers created this film as an open-
ended, polyphonic work that gives the audience more freedom to define
the meanings, messages, and interpretations of what it stands for.

The performative mode of documentary is used to break from a
monological or monotone understanding not only through the
use of dialogical principles of dialogical anthropology, but
also of experimental ethnography. In general, documentaries,
especially educational documentaries, are scripted such that
the audience is persuaded to accept a specific lesson or
message. In order to broaden the concept of experimental
ethnography as a set of guidelines for writing a text to
generating and editing ethnographic video, The Himpele and
Castaneda produce an ethnographic documentary.

Performative Documentaries Examples
● Drifters (1929) — Dir. John Grierson
● Night and Fog (1956) — Dir. Alain Resnais
● The Thin Blue Line (1988) — Dir. Errol Morris
● Bowling for Columbine (2002) — Dir. Michael Moore

References
● Premium Beat. (Unknown). The 6 Types of Documentary Films. [Online]. The 6 Types
of Documentary Films. Last Updated: July 26, 2022. Available at:
https://www.premiumbeat.com/blog/6-types-of-documentary-film/ [Accessed 10 March
2023].
● Master Class. (Unknown). Film Documentary Guide: 6 Types of Documentaries.
[Online]. Film Documentary Guide: 6 Types of Documentaries - 2023. Last Updated:
June 7, 2021. Available at: https://www.masterclass.com/articles/film-documentary-
guide [Accessed 10 March 2023].
● Wikipedia. (Unknown). Documentary mode. [Online]. Documentary mode - Wikipedia.
Last Updated: 17 September 2022. Available at:
https://en.wikipedia.org/wiki/Documentary_mode [Accessed 10 March 2023].

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