This document discusses different documentary modes including expository, observational, interactive, poetic, performative, and reflexive. It provides examples of films that exemplify each mode. It then analyzes sequences from the films Touching the Void and Kurt & Courtney, discussing how they employ cinematic techniques to shape spectator reactions. Finally, it addresses how different aspects of a spectator's self can influence their reactions to and pleasure from a documentary film.

1. documentary modes May 25, 2011
Similarities/Differences?
Expository Observational Interactive
Capitalism: A Love Story (Moore,
Hoop Dreams (James et al, 1994) Être et Avoir (Philibert, 2002) 2009)
Capturing the Friedmans (Jarecki, 2005)
Olympia (Leni Riefenstahl , 1938)
Touching the Void (McDonald, 2002) Man of Aran (Robert Flaherty, 1934) Night and Fog (Resnais, 1955)
Poetic Performative
Reflexive
Explain each mode in one sentence
Spectator reactions
The Solitary Life of Cranes
(Eva Weber, 2008)

2. documentary modes May 25, 2011
Kurt & Courtney (Broomfield, 1998) Touching the void (McDonald, 2002)
Broomfield at ACLU meeting
1:26 What micro devices does McDonald employ to show the
spectator Joe Simpson's state of mind?
How does Broomfield help us to identify with his actions in
this sequence?
To what extent might this be considered unrealistic?
Could what happens in this sequence be considered 'real' - What secures this clip as a piece of documentary?
how does it shape our reactions?
How important is it that we see Broomfield as the hero and How does this climatic sequence shape how we feel about Joe?
Courtney Love as the villain?
What does the non-fiction
film offer the spectator in
terms of pleasure?
Responses to a film can be based on a range of different
aspects of self.
These can influence reactions to film in terms of how
pleasurable we find the film.
Cultural self Private self Desiring self
(makes (carries the memories (brings conscious/
intertextual of their own unconscious energies
references, e.g. experience and finds to the film that have
recognising personal significance little to do with the
pieces of music) in films.) content, e.g.reacting
emotionally)