The document analyzes how different documentary films offer varying spectator experiences. Gimme Shelter uses a fly-on-the-wall style with no narrator, allowing the audience to view events objectively. Bowling for Columbine uses Michael Moore's subjective narration and interviewing style to push his perspective. Touching the Void reconstructs scenes aesthetically to elicit an emotional reaction from viewers rather than present a realistic account. Overall, the films demonstrate different documentary modes - Gimme Shelter uses observation, Bowling for Columbine uses participation, and Touching the Void uses exposition to generate different relationships with audiences.

1. Withreference tothe filmsyou have studiedfor this topic,how far can it be said that different
kinds ofdocumentariesofferdifferentkindsof spectator experience?-Saxon
Gimme Shelter uses a fly on the wall documentary style in order to create a morally
ambiguous perspective on the events that the film is based on. Through the lack of narrator
that films such as bowling for columbine have, no narrative is created for the viewer to react
too, and hence doesn’t supply the audience within an opinion that the audience has to
deconstruct to whether they agree or disagree. Instead, Gimme Shelter offers the audience
a film that portrays the events as if they were a spectator within the crowd. This is notably
relevant Altamont concert scene, as through the films direct approach it offers an objective
view into the events, therefore leading to the audience to believe that the film is unbiased in
the coverage of the events. This enhances the film ideals of giving a perspective of the
situation in which the audience believes hasn’t been selectively edited in order to portray an
overlapping narrator throughout the films course.
Furthermore, the use of a non-linear narrative is able to give the audience a differentiating
view to that of Bowling for columbine and touching the void. The use of the non-linear
narrative is used to express the concern that the characters feel during the repercussions of
the event, however it is placed at the beginning of the film. The build-up that occurs is able
to build anticipation towards the final scene, as by showing the tension within the band at
the start of the film, the stages that lead up to it become important. Meanwhile, the use of
the non-linear narrative allows the audience to know something the band doesn’t over the
course of the film; meaning when the event is played out it is more appealing to the
audience as they are presented with a visual representation of the situation and how it
unfolded.
Bowling for columbine demonstrates a clear narrative throughout the course of the film.
Through the use of the narrator, Michael Moore, a subjective argument is perpetuated
through the course of the scenes within the film. This is illustrated through his interviewing
style and the use of tonality of voice when interviewing people with different agendas.
Through the course of the film, whenever Moore interviews someone that he is more
inclined to agree with, he seems to be more sympathetic toward their answers, and seems
to respect their opinions. This is illustrated within the Canadian bar scene, as his use
adjacency pairs implements he is trying to retrieve information rather than provoke an
answer which is unreasonable. However, when he interviews someone he disagrees with he
tends to be very condescending, and seems to exaggerate soundbites in order for the
interviewee to sound stupid, hense making their points less relevant for the viewer. This is
shown through the interview with the bomb suspect, as Moore repeats dialogue back to him
in order to make him re-explain his position. Yet, through all of the interviews he uses a
similar interviewing style which perceives him to be a calm individual. Therefore, because his
tone of voice is shown to be similar within both sets of interviews the audience is unable to
pick up a difference within his interviewing style.
Within touching the void, the spectator is regularly introduced to reconstructed visuals to go
along with the voice over and explanation of the accounts that took place within the films

2. narrative. For touching the void, the audience are presented with reconstructions that are
parallel to that of a fictional film as they are able to create a visual aid which is aesthetically
pleasing whilst being able to provide a realistic and plausible account of the events taken
place. Meanwhile the use of the films micro elements confront the stylising’s of a
documentary the viewer will have been sustained to, in order to present a unique synthetic
presentation of the films story.
This is predominantly demonstrated through scene in which is suffering from a meltdown
due to the fear of being left alone and dying within the films penultimate scene. The scene
is presented with the use of wave-esque camera movement, tracking the distortion of Joe’s
current mental state with the use of distorted camera angles. This, along with the use with
the use of jumps and cuts within the films editing, is able to depend the audience’s ability of
the film creating an accurate account of the information presented to them, breaching the
metaphorical line of disbelief an audience member is able to achieve. Furthermore, the use
of the narration implies Joe cannot recollect what had happened at the time, further
employing how the filmmaker is using a sophisticated stylisation of the situation, with the
use of micro elements, in order to breach an emotional reaction from the order, rather than
create a socio-realistic account of the scene.
This use of reconstruction is shown to be implemented within bowling for columbine, as the
use of animation is used to disenfranchise the history of the American nation. The difference
within both sets of reconstructions is Touching the void is using it as a tool for
entertainment which is able to aid the audience visually alongside the story, making the
entire situation seem more realistic to the audience. Meanwhile, Moore uses the animation
in order to further BFC’s narrative and overarching opinion which transcends the entire film,
whilst presents the animation for use of comic relief to pander away from the overall serious
tone created within the film.
Overall, the different documentaries that we have looked have given the spectator a
different viewing experience. I find that the different viewing experience comes from the
different use of Bill Nichols documentary modes that are represented within each film.
Through the use of the observatory mode, Gimme shelter is able to give the audience
behind the scene access to the musicians, and is able to generate a disconnect from the
documentarians and the audience itself. This is juxtaposed with Michael participatory mode
Bowling For Columbine, as Michael Moore is using himself as a guide in order to give his
perspective. For an audience this type can cause resentment within his audience considering
the audience may be pessimistic of his views as well as the styles of interviewing he
perpetrates throughout the documentary. Finally, touching use of expository mode is able to
generate a personal relationship between the audience, as the use of voice over as well as
the visual aesthetics of film are able to contribute to the feelings an audience are able to
create, as the audience reacts to the events that occur throughout the film.