Research into the Documentary genre

I am eye. I am a mechanical eye. I, a machine, am showing you a world, the likes of which only I can see.
—Dziga Vertov, Kinoglas

Why documentaries?
The documentary genre is one that really appealed to me right from the start, mostly because I enjoy documentaries and watch a lot of them. The thing that I like the most is that they introduce us to events, places and subcultures that we didn't even know existed. We can explore the entire world from the comfort of our own living rooms. I am also intrigued by how controversial and influential documentaries can be, and how wide their effects can spread.

Examples of influential/ controversial documentaries

Super Size Me

When Morgan Spurlock first set out to prove a fast-food-only-diet could, in fact, be extremely harmful, it was a shocking sight: a man’s health falling apart on the big screen. Documenting how a month’s worth of McDonald’s food affected everything from his energy levels to his sex drive—at one point, Spurlock even vomits as his body rejects an overdose of the processed grub. Some claimed that Spurlock was exagerrating his symptoms, which may have been true, however, the film opened up the world's eyes to the dangers of fast food and kick started a few small but significant changes.

Impact

•  The "Super sized" menu items in McDonald's are gone. There are three new "premium" grilled chicken sandwiches, a grilled chicken wrap and several salads.
• The flagship Happy Meal has since been revamped to offer a choice of french fries or apple slices and low-fat milk, apple juice or a soft drink.
• The film was the inspiration for the BBC television series The Supersizers..., in which the presenters dine on historical meals and take medical tests to ascertain the impact on their health

Standard Operating Procedure

Standard Operating Procedure is a 2008 documentary film which explores the meaning of the photographs taken by U.S. military police at the Abu Ghraib prison in late 2003, the content of which revealed the torture and abuse of its prisoners by U.S. soldiers and subsequently resulted in a public scandal.

 

 

 

 

 

Controversy

 

Director Errol Morris's practice of paying his interview subjects has caused controversy, although it is not an unusual practice in documentary filmmaking, according to the producer Diane Weyermann who also worked on An Inconvenient Truth. In a private interview during the Tribeca Film Festival, Morris said: "If I had not paid them, they would not be interviewed."

 

 

The six types of documentaries

 

1. Poetic

 

Poetic documentaries first appeared in the 1920’s and 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 using associations and patterns, both in terms of time and space. Well-rounded characters—’life-like people’—were absent; instead, people appeared in these films as entities, just like any other, that are found in the material world. The films were fragmentary, impressionistic, lyrical. Their disruption of the coherence of time and space—a coherence favored by the fiction films of the day—can also be seen as an element of the modernist counter-model of cinematic narrative

Examples: Joris Ivens’ Rain (1928), whose subject is a passing summer shower over Amsterdam;  Francis Thompson’s N.Y., N.Y. (1957), a city symphony film; Chris Marker’s Sans Soleil (1982).

 

 

 

 

 

2. Expository 

 

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. (They may use a rich and sonorous male voice.) The (voice-of-God) commentary often sounds ‘objective’ and omniscient. Images are often not paramount; they exist to advance the argument. Historical documentaries in this mode deliver an unproblematic and ‘objective’ account and interpretation of past events.

 

Examples: TV shows and films like A&E Biography; America’s Most Wanted; many science and nature documentaries.

 

 3. Observational

 

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 lightweight cameras and portable sound recording equipment for synchronized sound. Often, this mode of film avoids voice-over commentary, post-synchronized dialogue and music, or re-enactments. The films aim for immediacy, intimacy, and revelation of individual human character in ordinary life situations.

 

Examples: Frederick Wiseman’s films, e.g. High School (1968); Gilles Groulx and Michel Brault's Les Raquetteurs (1958); Albert & David Maysles and Charlotte Zwerin’s Gimme Shelter (1970);

 

 

 

 

 

 

 

 

 

 



4. Participatory

 

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 their presence. The encounter between filmmaker and subject becomes a critical element of the film.

 

Examples: Vertov’s The Man with a Movie Camera (1929); Rouch and Morin’s Chronicle of a Summer (1960); Louis Theroux's The Most Hated Family in America (2007)





 

5. Reflexive

 



Reflexive documentaries don’t see themselves as a transparent window on the world; instead they draw attention to their own constructedness, 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.” It is the most self-conscious of all the modes, and is highly skeptical of ‘realism.’

 

Examples: Buñuel’s Land Without Bread; Trinh T. Minh-ha’s Surname Viet Given Name Nam (1989); Jim McBride & L.M. Kit Carson’s David Holzman’s Diary (1968)

6. Performative

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. This sub-genre might also lend itself to certain groups (e.g. women, ethnic minorities, gays and lesbians, etc) to ‘speak about themselves.’ Often, a battery of techniques, many borrowed from fiction or avant-garde films, are used. Performative docs often link up personal accounts or experiences with larger political or historical realities.

Examples: Alain Resnais’ Night And Fog (1955), with a commentary by Holocaust survivior Jean Cayrol, is not a historical account of the Holocaust but instead a subjective account of it; it’s a film about memory. Also, Peter Forgacs’ Free Fall (1988) and Danube Exodus (1999)