This document outlines six modes of documentary filmmaking: poetic, expository, observational, participatory, reflexive, and performative. Poetic documentaries use impressionism and symbols over strict continuity. Expository documentaries directly address the viewer and make strong arguments. Observational documentaries minimally intervene and observe lived experiences. Participatory documentaries emulate anthropology through participant observation. Reflexive documentaries highlight filmmaking construction and question notions of realism. Performative documentaries connect personal experiences to wider contexts through unconventional styles.

1. BILL NICHOLS
DOCUMENTARY MODES

2.  Documentaries:
 Are fragmentary
 Use symbols and associations in time and space
 Continuity editing not important
 Impressionistic
 Lyrical
POETIC

3.  Documentaries:
 Speak directly to the viewer
 Propose a strong argument
 Use rhetoric (persuasion)
EXPOSITORY

4.  Documentaries:
 Observe lived life
 Use minimum intervention
 See poetic documentaries as too abstract
OBSERVATIONAL

5.  Documentaries:
 Emulate anthropological approaches – participant observation
 Show the film maker as a social actor in the film
 Are a response to the idea that it is impossible for the presence of a
camera to achieve objectivity
PARTICIPATORY

6.  Documentaries:
 Draw attention to the constructed nature of documentaries
 Sometimes show film makers wrestling with the content of their findings
 Are sceptical of the idea of ‘realism’ captured on film
REFLEXIVE

7.  Documentaries:
 Stress personal/emotional experience
 Often connect these experiences to wider political/ cultural/historical
realities
 Often poetic/unconventional
PERFORMATIVE