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Introduction To Documentary Formats

The document defines documentary film in several ways: as "the creative treatment of actuality" (John Grierson), the "recording of events that would occur whether or not the cameras were present" (Stella Bruzzi), and using "pictures or interview with people involved in real events o provide a factual report on a particular subject" (Oxford Dictionary). It then discusses documentary formats, identifying expository, observational, participatory, performative, and poetic modes. Each mode is defined in 1-2 sentences explaining its key characteristics and approach.

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53 views8 pages

Introduction To Documentary Formats

The document defines documentary film in several ways: as "the creative treatment of actuality" (John Grierson), the "recording of events that would occur whether or not the cameras were present" (Stella Bruzzi), and using "pictures or interview with people involved in real events o provide a factual report on a particular subject" (Oxford Dictionary). It then discusses documentary formats, identifying expository, observational, participatory, performative, and poetic modes. Each mode is defined in 1-2 sentences explaining its key characteristics and approach.

Uploaded by

rachael.fox
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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What is ‘Documentary’?

John Grierson
“The creative treatment of actuality.”
Stella Bruzzi
“The recording of events that would occur
whether or not the cameras were present.”
Oxford Dictionary
“Using pictures or interview with people involved in
real events o provide a factual report on a particular subject.”
Documentary Formats
Documentary has been described as a film making practice, a cinematic
tradition, and a mode of audience reception that is continually
evolving, and yet is without clear boundaries.

“Documentary is a broad category of moving pictures


intended to document some aspect of reality.”
Bill Nichols
Modes
• Expository
• Observational
• Participatory
• Performative
• (Poetic)
Expository
• Addresses viewer directly with titles or voices that give a perspective
• Uses ‘voice of God’ commentary
• Matter of fact - clearly committed perspective
• Relies heavily on informing logic and visual imperatives (graphs,
archive footage)
Observational
• Embodies the ‘real’ - the recording of events as it happens. Direct
engagement with ‘everyday’ with unobtrusive cameras.
• Social actors engage with one another, ignoring the film maker -
could be seen as voyeuristic.
• Enables communication of duration of actual events.
• Engages with immediate, intimate and personal, as it happens.

Sometimes denoted as ‘fly on the wall’.


Participatory
• Clear interaction between filmmaker and subject.
• The filmmaker goes into the field and actually participates in the lives
of others and reflects on the experience - taking role of ‘social actor’.
• Gives viewer sense of being a filmmaker as there is direct
engagement with them.
• Series of accounts are brought together in a single narrative
Performative
• The performance of the filmmaker is central to the way the
documentary is constructed.
• May actually mix conventions of various modes to achieve a link
between the subjective and objective.
• Subject matter has a stronger emphasis on the filmmakers emotional
and social impact on the audience.
Poetic
Uses associative editing to capture a mood or tone rather than make
explicit argument about the subject.

Explores patterns and juxtapositions and alternative forms.

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