types of documentary

1. Types of documentary
(Bill Nichols)
Saffron Junaid-Evans

2. Expository Mode (“Voice of
God”)
Most identifiable documentary type which emphasizes verbal
commentary by using a narrator. It addresses the audience directly,
with titles and voiceovers that propose opinions, and perspectives.
Images relate to the voiceover commentary to highlight what the
narrator is saying. Editing in the expository mode usually maintains the
continuity of the spoken perspective – this is called evidentiary. The
main conventions of an expository documentary is:
The use of a commentator
Rhetorical questions
Facts
Opinions
Persuasive techniques

3. Poetic Mode
Poetic mode uses the lyrical, rhythmic and emotional aspect of the
historical world. It uses continuity editing and a situated time and space
mainly to explore associations between images, objects and patterns.
This mode has a topic which is personal to the people involved – the
presenter and interviewees. It can emphasize some aspects of life and
presents these via music, camera shots, angles and editing. It is
considered artistic in the way it is presented. Music is very key to this
mode of documentary because it develops the mood and tone of the
story being told. Some conventions of a Poetic documentary:
A subjective view
Not typical narrative structure
Particular mood/tone is created – enhanced by music
Events are underdeveloped and situations can be left unsolved
Unrelated shots edited together
Perceived as Avant-Garde (Innovative, experimental, pushes
boundaries)

4. Observational Mode
The observational mode attempts to observe aspects of the historical
world as they happen. Typically they don’t include voiceover narrative,
or even supplementary sound, no titles, no historical dramatizations,
and no interviews. Social actors will behave as if there were no
filmmakers were present. Some conventions of an Observational
documentary:
Location shooting (usually handheld cameras)
Synchronous (direct) sounds recording
No voiceover
No interviews
Documentary-maker’s presence is hidden
“fly on the wall” type documentary (no engagement)
Subjects pretend they are not being filmed.

5. Reflexive Mode
In the reflexive mode, the spectator is the focus of attention, it presents
problems and issues of representing the historical world. These
documentaries set out to re-adjust assumptions and expectations of its
audience, not to add new knowledge to subjects. From a formal
perspective – reflexivity draws our attention to our assumptions and
expectations about the documentary form itself. From a political
perspective – reflexivity points towards our assumptions and
expectations about the world around us. Both of these heavily rely on
techniques to adjust our engagement onto the creation of the
filmmaking. It will also involved Expository narration and images. Some
conventions of reflexive documentaries:
Borrows techniques from fictional film for an emotional, subjective
response
Emphasizes the expressive nature of film; anti-realist techniques e.g.
dramatization, expressive lighting and dramatic music.
Voiceover is likely to be questioning and uncertain – rather than

6. Performative Mode
The performative mode of documentary raises questions about what
knowledge is. It sets out to demonstrate how the specificities of
personal experience provide entry into an understanding of the more
general processes at work in society. – This is done by stressing the
emotional complexity of experience from the perspective of the
filmmaker. It stresses the tone and mood more than arguments and
evidence. It primarily addresses the spectator and calls for an
emotional responsiveness from us that acknowledges an
understanding of the event, more so that its asking us to gain
knowledge from it. Conventions of a performative documentary:
Documentary maker and crew interact with the subject
Comments on the process of making the documentary
Often shaped into the narrative of an investigation or search, possibly
without a satisfactory conclusion
The audience is addressed in an emotional and direct way.
Subject matter often concerns identity (gender, sexuality) rather than
“factual” topics.