This is a a little presentation I made explaining each of the six modes, what there roles are and the examples of some of the documentaries that uses them.
2. Introduction
Bill Nichols is a Swedish
film critic and theoretician
best known for his
pioneering work as founder
of the contemporary study
of documentary films.
He identified certain traits
visible in documentaries
that were utilized by the
documentary maker either
consciously or simply
because that is their way of
telling their truth and
sharing their knowledge.
3. Nichols explains that all documentaries make
use of one or more of the 6 modes.
Understanding the various modes of documentary can come in
useful not just for analyzing documentaries but for a filmmaker
creating their own documentary.
First Mode is the “Expository Mode”
This tends to be the mode that is most familiar to us. It is frequently
used in nature and TV documentaries. Expository documentaries
use the “Voice of God” narration where by the author provides a
scripted commentary to accompany or illustrate visuals. They are
sometimes referred to as essays films because their primary aim is
to educate their audience and explain their subjects. Informing the
audience of what they are seeing on screen, Expository
socumentaries will be heavily researched focusing on facts rather
than opinion or emotion. Examples are, Frozen Planet (2011)
narrated my David Attenborough, Nanook of the North (1922)
directed by Robert Flaherty and March of the Penguins (2005)
directed by Luc Jacquet.
4. Observational Mode
The Observational mode, direct cinema or fly-on-the-wall documentary is more
specific type of documentary telling. Observational documentaries were essentially
born out of a movement in the 1960s and 1970s by a group of filmmakers who
referred to themselves as “actuality filmmakers”. Due to the advance in technology
during this time, sound and camera equipment became easier to use and maneuver.
This allowed filmmakers more freedom and the ability to observe events without
being intrusive to their subjects. To be a “fly on the wall”, this often means that the
footage is raw and shaky or jumpy. Examples are, Don’t Look Back (1967) directed
by D.A. Pennebaker, Armadillo (2011) directed by Janus Metz Pedersen. Salesman
(1969) directed by Albert Maysles.
5. Participatory Documentaries
The participatory mode has become a
popular form of documentary telling in the
last 30 years or more with names such as
Michael Moore, Nick Broomfield and Louis
Theroux championing this technique. Often
this is also investigative filmmaking where a
question is asked or a controversial topic is
explored the filmmaker is showing the
audience the filmmaking process of their
subject. The filmmaker can become an
integral part of the film . This was most
recently seen in the documentary Icarus, both
a participatory and per formative
documentary.
Examples , Icarus (2017) directed by Bryan
Fogel
Bowling for Columbine (2002) directed by
6. Reflexive Documentaries
■ Reflexive documentaries acknowledge the way a documentary is constructed
and that it is impossible to show a purely objective and truthful subject due to
how many processes there are. From the use of the camera to the editing
and the filmmaker themselves, there will always be subjectivity or decisions
that need to be made which change the story, whether it be intentional or
not. As Bill Nichols wrote, the reflexive mode will provoke audiences to
“question the authenticity of documentary in general”. Mockumentaries can
sometimes fall under the reflexive mode due to their self-awareness.
Examples are, Exit Through The Gift Shop – Banksy (2010) and The Man With A
Movie Camera (1929) directed by Dziga Vertov
7. Performative Mode
The performative mode of documentary is the direct opposite
of the observational mode.
Performative documentaries will emphasize and encourage
the filmmakers involvement with the subject. Performative
documentaries tend to be more emotionally driven and may
have a larger political or historical motivation. Because the
filmmaker tends to be passionately involved, performative
documentaries will usually be subjective in one way or
another. Unlike many modes of documentary, performative
do not set out to reach a truth but show a perspective or what
is like to be there. For example, Don’t Look Back directed by
D.A Pennebaker
8. Poetic Mode
The Poetic Mode is considered a “subjective interpretation of the subject”- essentially
meaning it’s biased. This mode dictates that a certain tone or mood is depicted
throughout the documentary, which will influence the viewers understanding and
intake of information . This mood is purposefully created through the leaving out of
important information, such as character descriptions and specific events, which
create a biased view point.
