2. Identifying modes of documentary is a way of categorising
different types of documentary and is similar to genre
categories in feature films.
There are overlaps in the different modes and documentaries
will often feature conventions from more than one mode.
3. EXPOSITORY
• Voiceover, addresses the audience directly:
• The voiceover may be a ‘voice of God’ commentator (this means
the commentator is head but not seen) or ‘voice of authority’
(seen and heard, usually an expert in the relevant field – for
example David Attenborough in nature documentaries)
• Images are used to illustrate the voiceover;
• Editing is used for continuity, linking together images which
support the argument put forward in the voiceover
• Assembles a variety of footage, interviews and archive footage to
support arguments
• Attempts to persuade the audience of a particular point of view,
usually appealing to logic and the idea of a common sense
response
4. OBSERVATIONAL
• Location shooting – handheld cameras
• Fly on the wall
• Each piece of footage is usually very long
• Synchronous sound recording
• No voiceover
• No interviews
• Documentary maker is not present
• Subjects pretend they are not being filmed
• Examples: Hoop Dreams (1994), Armadillo (2010)
5. PARTICIPATORY (INTERACTIVE)
• Documentary maker (and crew) interact with subject;
• Interviews dominate but end to be formal – literally ‘on the run’
questioning
• Use of archive material – stills, news; footage, newspaper,
headlines, letters etc
• Location shooting – handheld camera
• Long takes dominate
• Synchronous sound recording
• Voiceover – usually by the documentary maker
• Documentary maker is visible to the audience – intervenes and
participates in the action
6. REFLEXIVE DOCUMENTARY
• Borrows techniques from fiction film for an emotional, subjective
response
• Emphasises expressive nature of film, anti realist techniques (i.e.
expressive lighting, dramatic music)
• Voiceover (if present) is likely to be questioning and uncertain
rather than authoritative
• Reliance on suggestion rather than fact
7. INFORMATIVE
• Documentary maker (and crew) interacts with subject
• Documentary maker comments on the process of making the
documentary
• Often shaped into the narrative of an investigation or search
which there may be no satisfactory conclusion to
• Addresses the audience in an emotional and direct way
• Subject matter often to do with identity rather than factual
subjects
