3: Documentary styles and approaches
- Page ID
- 364149
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)Exploring the definition of a documentary and citing its historical influences only gets filmmakers partway to making their films. Filmmakers evolve and adopt new ways to engage, influence, and communicate with audiences, keeping the genre relevant to its time. We've covered techniques like Direct Cinema, Fly-on-the-wall, and Cinema Verité; now, let’s explore how filmmakers use different modes, structures, and anti-aesthetics to improve their craft.
- 3.1: Bill Nichols' six modes of documentary
- In his “Introduction to Documentary” (2001), Bill Nichols identified six distinct styles, often called “modes,” of documentary films. When analyzing a specific documentary, these terms help describe the filmmaker’s intentions and the audience’s interpretation. From Nichols: "the characteristics of a given mode function as a dominant in a given film…but they do not dictate or determine every aspect of its organization."
- 3.2: Deeper dive into modes
- Nichols six modes are flexible. Select a specific mode, once filming begins, a documentary might shift toward a more engaging approach. There can be multiple modes utilized in one documentary. Starting with one mode shouldn't prevent you from exploring a second or third option. Ultimately, the audience's response and critique depend on the content, so guiding the story effectively is crucial.
- 3.3: Avante-garde influences on documentary production
- Since the early twentieth century, avant-garde movements like Surrealism, Dada, Structural Film, and Experimental Cinema have influenced the development and perception of documentaries. Old school documentaries have moved away from traditional storytelling methods. New innovative approaches challenge the usual sequence of events and cause-and-effect, offering a more personal, sensory experience of reality as audiences become more visually savvy and media-aware.
- 3.4: The anti-aesthetic on documentary culture
- Documentaries influenced by the Anti-Aesthetic often reject traditional storytelling structures, embrace raw, unpolished visuals, employ visible or intrusive filming techniques, and acknowledge the constructed nature of documentary truth. These anti-aesthetic documentaries focus on raw footage, shaky camera work, and minimal sound design.
- 3.5: Elastic Reality
- Elastic Reality suggests that documentaries aren't about capturing one absolute truth. Instead, they offer a version of reality that’s molded through editing, framing, narration, and the filmmaker’s unique perspective. These modes are especially prominent in works that openly critique or creatively explore ideas about truth.
- 3.6: Student Exercises
- This page includes Chapter 3 Exercises that promote student engagement in documentary filmmaking through various activities. Students select one of Bill Nichols' documentary modes for a short film, film a dialogue-free observational scene, research a documentary ethics controversy, and pitch a local issue via video. They are also encouraged to explore innovative techniques to enhance creativity and spontaneity in their storytelling.