Bill Nichols identified six types of documentaries: expository, poetic, observational, participatory, reflexive, and performative. The expository mode uses voiceover narration to directly address the viewer and make an argument. The poetic mode links images to create emotional associations rather than focusing on characters. The observational mode does not intervene and covertly observes settings. The participatory mode sees the filmmaker take a social role rather than just observing. The reflexive mode acknowledges the filmmaking process and the relationship between the filmmaker and viewer. The performative mode raises questions about public knowledge through an autobiographical approach.

1. THE 6 TYPES OF DOCUMENTARY

2. INTRODUCTION
Bill Nichols ( A theorist) identified six different forms of documentaries in his
following books:
Introduction to Documentary (2001)
Representing Reality (1991)

3. THE EXPOSITORY MODE (VOICE
OF GOD)
The expository mode or better known as the .
This mode is what we mainly identify with documentaries, it emphasises
verbal commentary – often using a narrator.
Expository mode documentaries speak directly to the viewer, often in the
form of an authoritative commentary employing voiceover or titles, proposing
a strong argument or point of view.
Expository mode documentaries are rhetorical and attempt to persuade the
viewer.
Examples of these are John Berger’s Ways of seeing (1974)

4. THE POETIC MODE (SUBJECTIVE,
ARTISTIC EXPRESSION)
Poetic documentaries originated in the 1920’s, the poetic mode links together
a pattern of images, this in turn creates associations for an audience.
Poetic mode chooses to distance itself from its subjects rather than having
well rounded characters as seen in some documentary modes.
In poetic mode documentaries, postal workers are not given names or
presented to the audience. The audience gaze upon them as they work. the
emotion in the film is created by the poetry that matches speed with the train
and personifies it.
The main focuses of the Poetic mode are codes, these highlight, tonal,
rhythmic or visual association.
They also favour tone, mood and texture.

5. OBSERVATIONAL MODE (WINDOW
ON THE WORLD)
The producer doesn’t intervene at all, this type of documentary focuses on
covertly observing a setting. E.g. Big brother
This type of documentary dates back to the 1960s, the advance in technology
has made cameras smaller and lighter so they could be placed anywhere.
This mode of film often has a narrator, dialoge and music.
This mode aims for intimacy, immediacy and the exposure of a human
character in ordinary situations.

6. THE PARTICIPATORY MODE
The film maker becomes more like a social actor, rather than just narrating or
covertly observing. These forms of documentaries believe that it’s near
impossible to not influence the events filmed.
The interaction concerning the producer and subject becomes a critical
component of the film.

7. REFLEXIVE MODE (AWARENESS
OF THE PROCESS)
In this form of documentary, the producer recognises his presence in front of
the camera, the producer also provides a narrative to the documentary.
This mode is commonly linked with experimental documentaries, where the
viewer is as fascinated about how the documentary is created as they are the
actual content.
Louis Theroux is a notable film maker who creates documentaries. He’s
recognised for his controversial technique of reflexive film making, as he is
casually interviewing the public in front of the camera.
This form of documentary emphasises the encounter between the film maker
and viewer, rather than the film maker and subject.

8. THE PERFORMATIVE MODE (FILM
MAKER AS PARTICIPANT)
This mode raises questions on the publics knowledge.
This type of documentary acknowledges emotional and subjective aspects of
a documentary, it aims to demonstrate how personal experiences provide
entries into an understanding of the more general things working in todays
society.
This type of documentary is often autobiographical in nature. An example of
this is ‘Supersize me’