2. Classification
A documentary is a creative work of non-fiction, including:
Documentary film
Radio documentary
Documentary photography
3. Documentary film
Documentary film is a broad category of visual expression that is based on
the attempt, in one fashion or another, to "document" reality. Although
"documentary film" originally referred to movies shot on film stock, it has
subsequently expanded to include video and digital productions that can be
either direct-to-video or made for a television series. Documentary, as it applies
here, works to identify a "filmmaking practice, a cinematic tradition, and mode of
audience reception" that is continually evolving and is without clear boundaries.
4. Radio documentary
A radio documentary or feature is a radio documentary program devoted to
covering a particular topic in some depth, usually with a mixture of commentary
and sound pictures. Some radio features, especially those including specially
composed music or other pieces of audio art, resemble radio drama in many
ways, though non-fictional in subject matter, while others consist principally of
more straightforward, journalistic-type reporting – but at much greater length
than found in an ordinary news report.
5. Documentary photography
Documentary photography usually refers to a type of professional
photojournalism, but it may also be an amateur or student pursuit. The
photographer attempts to produce truthful, objective, and usually candid
photography of a particular subject, most often pictures of people. The pictures
usually depict a certain perspective of the photographer.
Usually such photographs are meant for publication, but are sometimes only for
exhibition in an art gallery or other public forum. Sometimes an organization or
company will commission documentary photography of its activities, but the
pictures will only be for its private archives.
6. Major Components of Documentaries
Events must be un staged, independent of cinema, non-fiction staged to film
-- Conventionally non-fiction; real world activities
-- Assumes an objective record of real events by filmmakers; camera influences film
event; techniques of camera and choices made in filming, like film in the camera
and lens choice. These are subjective choices.
All films have selection and editing. There is objectivity, but all events are seen from
some perspective. How do these selections manipulate and shape the event?
Objective events are viewed through some perspective.
"Manipulation" of events = "propaganda"
8. Poetic documentaries
Which first appeared in the 1920’s, were a sort of reaction against both the
content and the rapidly crystallizing grammar of the early fiction film. The poetic
mode moved away from continuity editing and instead organized images of the
material world by means of associations and patterns, both in terms of time and
space.
9. Expository documentaries
Speak directly to the viewer, often in the form of an authoritative commentary
employing voiceover or titles, proposing a strong argument and point of view.
These films are rhetorical, and try to persuade the viewer. The (voice-of-God)
commentary often sounds ‘objective’ and omniscient. Images are often not
paramount; they exist to advance the argument.
10. Observational documentaries
Attempt to simply and spontaneously observe lived life with a minimum of
intervention. Filmmakers who worked in this sub-genre often saw the poetic
mode as too abstract and the expository mode as too didactic. The first
observational docs date back to the 1960’s; the technological developments
which made them possible include mobile light weight cameras and portable
sound recording equipment for synchronized sound.
11. Participatory documentaries
Believe that it is impossible for the act of filmmaking to not influence or alter the
events being filmed. What these films do is emulate the approach of the
anthropologist: participant-observation. Not only is the filmmaker part of the film,
we also get a sense of how situations in the film are affected or altered by her
presence.
12. Reflexive documentaries
Don’t see themselves as a transparent window on the world; instead they draw
attention to their own constructed ness, and the fact that they are
representations. How does the world get represented by documentary films?
This question is central to this sub-genre of films. They prompt us to “question
the authenticity of documentary in general.”
13. Performative documentaries
Stress subjective experience and emotional response to the world. They are
strongly personal, unconventional, perhaps poetic and/or experimental, and
might include hypothetical enactments of events designed to make us
experience what it might be like for us to possess a certain specific perspective
on the world that is not our own, e.g. that of black, gay men in Marlon Riggs’s
Tongues Untied (1989) or Jenny Livingston’s Paris Is Burning (1991).
This sub-genre might also lend itself to certain groups (e.g. women, ethnic
minorities, gays and lesbians, etc) to ‘speak about themselves.’
14. Make Your Own Documentary Film
10 Easy Steps from
Conceptualization to Completion
15. 10 Easy Steps from Conceptualization to
Completion
1. Find yourself a worthwhile story:
Learn what makes or breaks a documentary film.
Think about what kinds of documentary films you like.
Learn the various genres and filmmaking styles.
For example, Michael Moore's filmmaking style is very different
than Ken Burns' filmmaking style.
16. 10 Easy Steps from Conceptualization to
Completion
2. Become familiar with technical equipment
Use equipment like DV cameras, final cut pro editing systems, cheap
mics, flood lights.
Experiment with lighting setups, audio recording, splicing clips together.
Read filmmaking forums like IndieTalk to get sound technical advice from
experienced filmmakers.
17. 10 Easy Steps from Conceptualization to
Completion
3. Choose a subject that you find fascinating and is accessible to
you.
Choosing a subject that is compelling & timely will result in a strong and
relevant film.
It is often better to focus on a local personality or local event so that you
will have access to loads of resources for your film.
Besides, it's much simpler & cheaper to shoot at home than abroad.
18. 10 Easy Steps from Conceptualization to
Completion
4. Become an expert on your chosen subject through research.
Research your subject as thoroughly as possible.
Gain knowledge through the internet, books, and word of mouth.
Attend events pertaining to your chosen subject.
19. 10 Easy Steps from Conceptualization to
Completion
5. Create a structure/outline for your film through visualization
Close your eyes and imagine how you would like the final product to look.
Think about how you want to structure your film.
What do you want to start with?
How are you going to build your film?
Write down your ideas.
Story outline
___ List of Interview Questions
___ List of B-Roll footage you need to get
___ List of Equipment
___ List of Shooting Locations
___ List of Forms: Talent, Location, Photographer
___ Shooting Schedule
Note This will give you a blueprint for shooting. But remember that in documentary
filmmaking, unlike fictional filmmaking, the footage informs the final structure of
the film. Your initial written outline exists to serve as a guideline for shooting.
20. 10 Easy Steps from Conceptualization to
Completion
6. Analyze your wants/needs for making the film.
Make a wish list of any people, locations, items, equipment you WISH you
could have for your film.
Cross-reference this list with any people, locations, items and equipment
that you do have access to.
Ask people. Check with local art centers, film departments at universities
and colleges. Talk to the local film office.
If you are looking for footage, check with stock libraries for material that is
in the public domain and free to use.
21. 10 Easy Steps from Conceptualization to
Completion
7. Find finances for your film
Use Google or check with your local film office to find out what existing
documentary funding programs are available to you. For example, the
International Documentary Association has a great list of grants you can
apply for.
Hold fundraising events.
Other options are to apply for credit cards or cashline.
22. 10 Easy Steps from Conceptualization to
Completion
8. Shoot! Don't talk about doing it - get out there and shoot your
film.
Home video
Archival video
Photos
Other supporting documents and Media
Signed releases for these items
Signed releases for your participants
This is the step that differentiates the aspiring filmmakers from the actual
filmmakers.
23. 10 Easy Steps from Conceptualization to
Completion
9. Post-production
Cut your film
Create your film website
Create the trailers
Start your press kit
Fast forward through all of your footage, and take printable screenshots
of key scenes.
This way you simplify the editing process by creating a visual map of
your footage.
Once this is done you should watch ALL of your footage and create an
action log listing timestamps. This will help you to save time in the editing
room.
24. 10 Easy Steps from Conceptualization to
Completion
10. Show your film
Upload it to the internet,
Four-wall it in a theatre,
Send the cut to networks to see if they are interested,
Hit the festival circuit. You can apply to multiple film festivals at once
through the website Without a box.
If all else fails, invite people to your place to screen.
Burn multiple DVDs and get the film into the hands of family, friends,
neighbors, coworkers, anyone you know who is in the film industry.
25. Tips
Have FUN showing your film at festivals.
Be relaxed on this journey into filmmaking. This is supposed to be creative fun.
When it becomes anything other than that, it’s time to evaluate your life goals.
With this in mind, let the kinks along the road roll off and keep moving.
Show your film at festivals and enjoy yourself. This attitude will in turn help sell
your film.
Talk to viewers and be positive, even if they aren’t. Keep in mind that it really
doesn’t matter what they say about the film, it’s already been made. It’s not
going to change. *Smile* So with that in mind, take it easy.
