Information on all of the modes

1. A2 Media 15/06/2015
Expository
A very traditional form of documentary in which an unseen speaker performs a
voiceover commentary that literally explains the images that we are seeing. It is
the form often associated with wild life or historic documentaries, in which the
viewer might feel in need of information about what they are seeing. The
audience is not particularly ‘empowered’ by this kind of approach, finding itself
in a subordinate role listening to the version of events that the filmmakers
choose to prioritise.
Observational
This is the mode associated with ‘fly-on-the-wall’ type documentaries. They
appear to have been filmed in ‘real time’, as if the camera has happened upon
events while those involved are seemingly unaware of the filming going on. The
filmmakers correspondingly attempt not to interfere in what is underway. We
do not hear their questions and we do not see them. There is no voiceover
telling us what to think or what conclusions we should draw.
Interactive
Many documentaries feature a certain amount of interactive mode filmmaking.
Such sequences will involve those being filmed responding to questions asked
of them. In such interviews, the questions of the filmmaker may be left in or
edited out. This may be a way that individuals in a film can make their own case,
but it is also a mode that can act to undermine the interviewees, making them
look foolish or deluded. Their interpretation of events or personal account may
be rendered to seem trustworthyor untrustworthydepending on the context of
surrounding shots or the nature of the statements being made in their own
right.
Reflective
This is a style that is usually associated with more experimental documentaries,
ones in which the filmmakers are interested as much in the process of making a
film, of how reality can be constructed, as the actual content. At the simplest
level the film may make no attempt to hide aspects of its construction - showing
us the camera people for example.

2. A2 Media 15/06/2015
ExpositoryMode
- Expositorymode explores documentarieswhich includefactual
information and figures, having interviews to back up the topic.
- E.g. American’sMost Wanted
- It emphasises verbal commentary- often using a narrator
- Addresses the spectator directly, with titles or voices that propose a
perspective, advance an argument or recount history.
- Images becomesubordinate to the voice-over narration. Theyserve to
illustrate, illuminate or act in counterpointto what is being said by the
author.
- Editing in the expository modeserves to maintain the continuity of the
spoken argumentor perspective-which is called evidentiary.
- It doesn’tfollow the strict conventionsof most documentaries.
- Uses voiceovers and addressesthe audiencedirectly, may gather q
variety of material to supportarguments.
ObservationalMode
- Observational modetends to just observe, allowing viewers to reach to
their own conclusionsof the documentary.
- E.g. Big Brother, Keeping up with the Kardashians, GeordieShore
- Attempt to observe aspects of the historical world as they happen.
- Typically have no voice-over commentary, no supplementary music or
sound, interties, no historical re-enactments, no behaviour repeated for
the camera and no interviews.
- Socialactors behave as if no filmmakerswere there.
- This type of documentaryfocuses on just using one camera, observes the
world.
- Location shooting, no interviews are used and rarelyuses voiceover.
- Life id lived and observed, it can then be seen how people/animalsreact
in differentsituations.
- The filmmaker is normallyout the shot so they cannotinfluence what is
happening, nothing is rehearsed or staged.
- Usually wildlife documentaries

3. A2 Media 15/06/2015
InteractiveMode
- Such sequences will involve those being filmed responding to questions
asked of them.
- In such interviews, the questions of the filmmaker may be left in or edited
out.
- This may be a way that individuals in a film can make their own case, but
it is also a mode that can act to underminethe interviewees, making
them look foolish or deluded.
- Their interpretation of events or personal accountmay be rendered to
seem trustworthyor untrustworthydepending on the context of
surrounding shotsor the nature of the statements being made in their
own right
ReflexiveMode
- Bases on the reallife moments and objects, these types of documentaries
are based moreone suggestions and opinions rather than facts.
- The spectator is the focusof the attention.
- Speaks not only abouthistorical world but aboutproblemsand issues of
the representing it.
- Drawsour attention to our assumptions and expectations about the
documentaryand the world around us.
Poetic Mode
- Subjective representation of reality.
- Stresses the lyrical, rhythmic and emotionalaspect of the historicalworld
- Sacrificesfilmic conventions for example, continuity editing and a
situated time and space, to exploreassociations between images, objects
and patterns.
- Has a topic which is personalto the peopleinvolved, usually presenter
and interviewees.
- It emphasizes some aspects of the person’slife and presents these
through music, camera shots and angles and the editing.
- Music is also key as it develops the mood and tone of the story being told
including the message and values hidden within.

4. A2 Media 15/06/2015
ParticipatoryMode
- Involves an interview between filmmaker and the subject- this allows the
filmmaker to address people who appear in the film, formally- this is
voice-over commentary.
- Also involves some participation from the filmmaker as well as social
actors- this gives the audiencea sense of what it is like for the filmmaker
to be in a given situation and how that situation alters as a result.
- The documentarymaker is visible within the documentary, they normally
also participateas the voiceover.
- Long takes dominate, synchronous(direct) sound recording, voice-over
usually by the documentarymaker.
- Documentarymaker is visible to the audienceas he intervenes an
participates in the action
PerformativeMode
- Based on emotion, the documentarymaker/crewmay interact with the
subject.
- It raises questions about what knowledge is.
- It sets out to demonstratehow the specificities of personalexperience
provideentry into an understanding of the moregeneral processes at
work in society- this is done by stressing the emotionalcomplexity of
experience from the perspective of the filmmaker
- Stresses the tone and mood, moreso than argumentsand evidence .