There are 6 modes of documentary filmmaking described in the document: 1. Expository mode uses a narrator and scripted commentary to accompany and illustrate visuals. 2. Observational mode aims to observe events without involvement or influence, capturing raw footage of natural, unstaged events. 3. Participatory mode involves the filmmaker engaging directly with subjects to investigate topics and explore questions, making them an integral part of the film.

1. Bill Nichols’ 6
Modes of
documentary

2. Expository mode
This tends to be the most familiar to us.
Its frequently used in nature and TV
documentaries. Expository
documentaries use the ‘Voice of God’
narration where by the author provides a
scripted commentary to accompany or
illustrate visuals. This mode Is most
famously seen in documentaries
narrated by David Attenborough where
they will ‘assume a logical argument’.

3. Observational mode
The observational mode, also referred to as cinema
verity, direct cinema or fly-on-the-wall documentary
is a more specific type of documentary telling.
Observational documentaries were essentially born
out of a movement in the 1960s and 1970s by a
group of filmmakers who referred to themselves as
‘actuality filmmakers’. Due to the advance in
technology during this time, sound and camera
equipment became easier to use and manoeuvre.
This allowed filmmakers more freedom and the
ability to observe events without any involvement or
influence. To be a ‘fly on the wall’. This often means
that the footage is raw and shaky or jumpy. Nothing
is staged and what you see is completely natural.
There are of course arguments asking how natural
someone can be when a camera is present, despite
how non-intrustive it is. However this does not
necessarily detract from the mode itself.

4. Participatory mode
This has been a popular form of documentary
telling in the last 30 years or more with names
such as Michael Moore, Nick Broomfield and
Louis Theroux championing this technique.
Often this is also investigating filmmaking
where a question is asked or a conversation
topic is explored and the filmmaker is showing
the audience the filmmaking process of their
subject. The filmmaker can become an integral
part of the film. The filmmaker does not
influence the subject but will attempt to
subjectively engage with their subject despite
their personal beliefs.

5. Reflexive mode
These documentaries acknowledge the way a
documentary is constructed and that it is
impossible to show a purely objective and
truthful subject due to how many processes
there are. From the use of the camera to the
editing and the filmmaker themselves, there
will always be subjectivity or decisions that are
needed to be made which will change the
story, whether it will be international or not.

6. Performative mode
This is directly opposite to observational mode.
This mode will emphasize and encourage the
filmmakers involvement with the subject.
Performative documentaries tend to be more
emotionally driven and may have a larger
political or historical motivation. Because the
filmmaker tends to be passionately involved,
performative documentaries will usually be
subjective in one way or another. Unlike most
modes of documentary, performative do not set
out to reach a truth but show a perspective or
‘what its like to be there’.

7. Poetic mode
This mode is considered to be a subjective
interpretation of the subject essentially meaning
the documentary is biased. This mode dictates
that a certain tone or mood is depicted
throughout the documentary, which will influence
the viewers understanding and intake of
information. This mood is purposefully created
through the leaving out of important information,
such as character descriptions and specific events,
which create a biased view point.