The Poetic Mode

These documentaries are constructed into an abstract, lyrical form through the use of

emphasis on visuals. An early example is Joris Iven’s ‘Regen’ from 1929 which shows a

rainy day in Amsterdam which has been constructed with unsystematically placed shots.

This mode creates an aura throughout.

 

 

The Expository Mode

Often referred to as “The Voice of God”, these documentaries have an authoritative

commentary over the top of visuals which directly addresses its audience to give them

more information of the subject matter. The ‘Voice of God’ is intentionally aiming to be

interpreted by the audience as objective, but can potentially be subjective – which is

always debateable. It is hugely popular today, as it is heavily featured in documentaries

such as science and nature programmes and John Berger’s Ways Of Seeing (1974).

 

The Observational Mode

As technology has advanced ever since the 1960’s and recording equipment has become easily portable and convenient to transport and use, catching the decisive moment has become easier. This has allowed for filming to ‘spontaneously’ take place unobtrusively with minimal intervention to the subject matter – often referred to as “fly-on –the-wall”, it creates an authentic representation of the subject. A recent example of this is Channel 5’s ‘The Railway: First Great Western”

 

The Participatory Mode

Most participatory filmmakers believe it is impossible to not alter the events taking place. Therefore, they embrace this and have an approach where they engage with the subject and have a direct influence on events. The real truth of the subject may not be represented accurately however those documented share their take and opinions of the subject.

 

The Reflexive Mode

The reflexive mode questions the quality of documentary itself. It gives the audience an insight into the production process, i.e. recording, editing. It also emphasises the significance of not only the information of the subject but also how important the documentaries role is in relaying the information too. It enables the audience to take not only the subject matter into consideration but the production of the documentary itself.

 

The Performative Mode

It often features the documentary team following the subject. Usually the mode consists of an autobiographical piece that puts the audience in the subject’s emotional state as they go on an adventure or open up to an event in their life. It gives an insight into the emotional response of the highly personal account.

 

Political Reflexivity

Political Reflexivity develops the audience’s awareness of a previously underexposed issue. This then provokes a reaction by viewers.

 

 

 

Six Qualities of Documentary
 
Emotional Content – Audience feels an emotional connection.
Relative Content – Something the audience can relate to.
Empathy and Quizzical Thought – Leaves the audience asking questions about the matters raised.
Shock and Expectation – Sparks a big reaction as the audience find out something they didn’t expect.
The Voyeur Image – Makes the audience feel like they’re gaining exclusive information as primaries remain unaware.
The Surreal – Leaves the audience knowing something new, changing their attitudes.
 
 

Three Modes of Photography
 

Decisive Moment  – A momentary image capturing a shot of reality allowing for it to be ‘natural’.
Modern Staged Manipulator – Staged photography to create that certain look and feel the photographer requires.
Social-Voyeur-Artist – Taking specific everyday images to create debate.

 

 

 

Ken Burns Effect

The Ken Burns effect was used extensively by Ken Burns in his films since the 90’s. It consists of a pan or zoom across a still image – bringing it to life. It is often cohesively used with narration that describes the image or subject the zoom or pan is focusing on.

 

 

 

Synergy
Synergy is the merger of two different media to help associate each other. For example; CocaCola associating itself with a movie. There is an element of synergy with our documentary as we are documenting on an entertainment franchise.

 
 

 

Moiré
Moiré often happens when close intertwining, busy patterns exceed the camera’s resolution. This causes the image to become noisy and creates a sense of movement in the image.

 

 
The Decisive Moment

The decisive moment is a term originating Magnum photographer Henri Cartier-Bresson. The fact that it is a moment gives the shot much more significance as the moment passes as quickly as it comes. The decisive moment is supposed to show spontaneity, representing the truth.

 

 

Let It Breath

Using cutaways and still shots the audience can take time to reflect on the information given. This prevents the audience from being bombarded with loads of information straight after each other. It is also useful to build suspense and allows the audience to think more in depth.