7. Docs often link up personal accounts or experiences with larger political or historical realities. Are strongly personal, unconventional, perhaps poetic and/or experimental Conventions of a Performative Documentary Dynamic movement of still pictures Stress subjective experience and emotional response to the world
8. Looking Back” Chuck McCauley (2011) Panorama BBC Undercover Care (31-5-11) Tongues untied (Marlon Riggs) 1989 Octavia Saint Laurent from Paris is Burning Documentary Examples of Performative Documentaries
9. Convention 1 Are strongly personal, unconventional, perhaps poetic and/or experimental Clip from another “Looking Back” Chuck McCauley (2011) My Life As A Dalmatian
10. Convention 2 Include hypothetical enactments of events Clip from another Panorama BBC Undercover Care (31-5-11) My Life As A Dalmatian
11. Convention 3 Dynamic movement of still pictures It is conventional in documentaries to use still images and employ a dynamic movement Tongues untied (Marlon Riggs) 1989 My Life As A Dalmatian
12. Convention 4 Stress subjective experience and emotional response to the world Clip from My Doc Clip from another Octavia Saint Laurent from Paris is Burning Documentary My Life As A Dalmatian
13. Filming Interviews Conventional interview technique The interview is a common documentary techniques My Life As A Dalmatian Real media examples
15. A the very beginning of my Documentary there’s a car crash sound, I found the sound in Soundtrack Pro under the Impacts and Crashes section and called ‘Automobile Crash FX 01. You just need to click the speaker to here the sound.
16. I went on to the internet on a website called ‘www.Jamendo.com’ which is website where your llegal allowed to download music for free. I listened to few and then I found ‘plastic_man’ by ‘wentilators’. Hear’s the trimed version of ‘Plastic Man’ theres no words but it’s a very up beat tune, which is what I wanted for the ending of my documentary.
19. Poster & Documentary I feel I have created synergistic links between my main task and ancillary texts that combine well together. My Documentary contains, how sycloigal I was trapped in two minds, one being me and the other with me being a Dalmatian dog.
21. Magazine Review & Documentary Used some photos from the clip of the film. Added the plot of the Documentary, and even an interview with myself talking in more detail of the car accident.
30. I have really have enjoyed using final cut pro through out this year, it has help me to construct my documentary to how it is presented to you now. There’s been a few challenges thought out the editing process, but I have manage to over come them.
31. This is how you add effects Hear I am adding effects
32. This is a clip that I edited in final cut pro (just click on it to play)
34. I really enjoyed leaning how to construct my Magazine article and my Poster using the software Program InDesgin, It was the first time I had every use it, and after a bit I found it very easy to uses. There were many stages that I went through both magazine article and Poster, but Indesgin has help me to presents the constructed poster and magazine article to the way they are now.
43. I made a short script, because I am making a documentary, there was no need to create at a large script with lots of detail because documentary's are unpredictable. I create the script to help more when it came to editing my documentary.
48. As well as script making Celtx has also help with scheduling the date on when I would be able to film, again with a documentary you can’t really have a schedule, but I created one anyway just to keep me on track from film to editing.
58. I’ve used ClipConveter as lot over this year, it’s very usefull and very easy to use. I use ClipConveter mostly to convert videos from YouTube, so that I am able to load them up on to my Evaluation.
60. This is the Video that I converter from YouTube. Its about how to create titles on final cut pro, as I didn’t know how to. So I found this very help full video to guide me through.
61. I have learnt so much this year, with web 2.0, planning when I am going to film and creating the narrative of my documentary through editing. I didn’t know how my Performative documentary would turn out, but I am amazed how it has, and I feel I have achieved something through this whole learning processes. I can now take away what I have learnt over these past couple of years and improve them in the future.
Editor's Notes
Poetic documentaries, which first appeared in the 1920’s, were a sort of reaction against both the content and the rapidly crystallizing grammar of the early fiction film. The poetic mode moved away from continuity editing and instead organized images of the material world by means of associations and patterns, both in terms of time and space. Well-rounded characters—’life-like people’—were absent; instead, people appeared in these films as entities, just like any other, that are found in the material world. The films were fragmentary, impressionistic, lyrical. Their disruption of the coherence of time and space—a coherence favored by the fiction films of the day—can also be seen as an element of the modernist counter-model of cinematic narrative. The ‘real world’—Nichols calls it the “historical world”—was broken up into fragments and aesthetically reconstituted using film form.Expository documentaries speak directly to the viewer, often in the form of an authoritative commentary employing voiceover or titles, proposing a strong argument and point of view. These films are rhetorical, and try to persuade the viewer. (They may use a rich and sonorous male voice.) The (voice-of-God) commentary often sounds ‘objective’ and omniscient. Images are often not paramount; they exist to advance the argument. The rhetoric insistently presses upon us to read the images in a certain fashion. Historical documentaries in this mode deliver an unproblematic and ‘objective’ account and interpretation of past events.Examples: TV shows and films like A&E Biography; America’s Most Wanted; many science and nature documentaries; Ken Burns’ The Civil War (1990); Robert Hughes’Observational documentaries attempt to simply and spontaneously observe lived life with a minimum of intervention. Filmmakers who worked in this sub-genre often saw the poetic mode as too abstract and the expository mode as too didactic. The first observational docs date back to the 1960’s; the technological developments which made them possible include mobile lighweight cameras and portable sound recording equipment for synchronized sound. Often, this mode of film eschewed voice-over commentary, post-synchronized dialogue and music, or re-enactments. The films aimed for immediacy, intimacy, and revelation of individual human character in ordinary life situations.Observational documentaries attempt to simply and spontaneously observe lived life with a minimum of intervention. Filmmakers who worked in this sub-genre often saw the poetic mode as too abstract and the expository mode as too didactic. The first observational docs date back to the 1960’s; the technological developments which made them possible include mobile lighweight cameras and portable sound recording equipment for synchronized sound. Often, this mode of film eschewed voice-over commentary, post-synchronized dialogue and music, or re-enactments. The films aimed for immediacy, intimacy, and revelation of individual human character in ordinary life situations.Participatory documentaries believe that it is impossible for the act of filmmaking to not influence or alter the events being filmed. What these films do is emulate the approach of the anthropologist: participant-observation. Not only is the filmmaker part of the film, we also get a sense of how situations in the film are affected or altered by her presence. Nichols: “The filmmaker steps out from behind the cloak of voice-over commentary, steps away from poetic meditation, steps down from a fly-on-the-wall perch, and becomes a social actor (almost) like any other. (Almost like any other because the filmmaker retains the camera, and with it, a certain degree of potential power and control over events.)” The encounter between filmmaker and subject becomes a critical element of the film. Rouch and Morin named the approach cinémavérité, translating DzigaVertov’skinopravda into French; the “truth” refers to the truth of the encounter rather than some absolute truth.Reflexive documentaries don’t see themselves as a transparent window on the world; instead they draw attention to their own constructedness, and the fact that they are representations. How does the world get represented by documentary films? This question is central to this sub-genre of films. They prompt us to “question the authenticity of documentary in general.” It is the most self-conscious of all the modes, and is highly skeptical of ‘realism.’ It may use Brechtian alienation strategies to jar us, in order to ‘defamiliarize’ what we are seeing and how we are seeing it.Examples: (Again) Vertov’s The Man with a Movie Camera (1929); Buñuel’s Land Without Bread; Trinh T. Minh-ha’s Surname Viet Given Name Nam (1989); Jim McBride & L.M. Kit Carson’s David Holzman’s Diary (1968); David & Judith MacDougall’s Wedding Camels (1980).Performative documentaries stress subjective experience and emotional response to the world. They are strongly personal, unconventional, perhaps poetic and/or experimental, and might include hypothetical enactments of events designed to make us experience what it might be like for us to possess a certain specific perspective on the world that is not our own, e.g. that of black, gay men in Marlon Riggs’s Tongues Untied (1989) or Jenny Livingston’s Paris Is Burning (1991). This sub-genre might also lend itself to certain groups (e.g. women, ethnic minorities, gays and lesbians, etc) to ‘speak about themselves.’ Often, a battery of techniques, many borrowed from fiction or avant-garde films, are used. Performative docs often link up personal accounts or experiences with larger political or historical realities.
To answer this question I have to make clear what type of documentary I made. To call it a drama documentary seems inefficient. My doc contains INTERVIEWS as well as some FICTIONAL RECREATIONS. These are more for artistic effect. Also I am the subject matter of the documentaryPerformative documentaries stress subjective experience and emotional response to the world. They are strongly personal, unconventional, perhaps poetic and/or experimental, and might include hypothetical enactments of events designed to make us experience what it might be like for us to possess a certain specific perspective on the world that is not our own, e.g. that of black, gay men in Marlon Riggs’s Tongues Untied (1989) or Jenny Livingston’s Paris Is Burning (1991). This sub-genre might also lend itself to certain groups (e.g. women, ethnic minorities, gays and lesbians, etc) to ‘speak about themselves.’ Often, a battery of techniques, many borrowed from fiction or avant-garde films, are used. Performative docs often link up personal accounts or experiences with larger political or historical realities.
