This mode is what we most identify with the documentary - it "emphasizes verbal commentary and argumentative logic" often using a narrator. Assumes a logical argument and a "right" and "proper" answer using direct address
Examples:
- Many nature Documentaries
- Holloway Prison
- King of Laughterhttp://www.4docs.org.uk/films/show/5/King+of+Laughter
THE POETIC MODE – subjective, artistic expression
The poetic mode of documentary moves away from the "objective" reality of a given situation or people to grasp at an inner "truth" that can only be grasped by poetical manipulation. This mode emphasises visual associations, tonal or rhythmic qualities, descriptive passages, formal organisations, favours mood, tone and texture.
Examples:
- Concrete Circus
THE PERFORMATIVE MODE – filmmaker as participant
This mode of documentary emphasises the subjective nature of the documentarian as well as acknowledging the subjective reading of the audience - notions of objectivity are replaced by "evocation and affect".
This mode emphasizes the emotional and social impact on the audience
This mode emphasizes the emotional and social impact on the audience
Examples:
- Concrete Circus
THE OBSERVATIONAL MODE
Observational (objective) mode is best exemplified by the Cinema Verite or Direct Cinema movement which emerged in the late 1950s/early 1960s - it attempted to capture (as accurately as possibly) objective reality with filmmaker as neutral observer. (Fly on the Wall).
The filmmaker remains hidden behind the camera, ignored by the surrounding environment he/she neither changes nor influences the actions/events being captured.
Since nothing is staged for the camera, the camera rushes about to keep up with the action resulting in rough, shaky, often amateur-looking footage.
Examples:
The filmmaker remains hidden behind the camera, ignored by the surrounding environment he/she neither changes nor influences the actions/events being captured.
Since nothing is staged for the camera, the camera rushes about to keep up with the action resulting in rough, shaky, often amateur-looking footage.
Examples:
- Holloway Prison
THE PARTICIPATORY MODE
Unlike the observational mode, the participatory mode welcomes direct engagement between
filmmaker and subject(s) - the filmmaker becomes part of the events being recorded. The filmmakers impact on the events being recorded is acknowledged, indeed, it is often celebrated.
Examples:
filmmaker and subject(s) - the filmmaker becomes part of the events being recorded. The filmmakers impact on the events being recorded is acknowledged, indeed, it is often celebrated.
Examples:
- King of Laughterhttp://www.4docs.org.uk/films/show/5/King+of+Laughter
THE REFLEXIVE MODE – awareness of the process
The Reflexive Mode acknowledges the constructed nature of documentary and flaunts it - conveying to people that this is not necessarily "truth" but a reconstruction of it - "a" truth, not "the" truth
The artifice of the documentary is exposed - the audience are made aware of the editing, sound recording, etc.
Examples:
The artifice of the documentary is exposed - the audience are made aware of the editing, sound recording, etc.
Examples:
- Please and Thank You
http://www.4docs.org.uk/competition/view/349/Please+%26+Thanks+%28+Best+Version+%29
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