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Documenting Facts?
Documentary: ‘truth’ and narrative forms
#med105

robert.jewitt@sunderland.ac.uk

1
Overview
 Documentary
 History
 Formats
 Critique

 Multimedia developments

2
Documentary

3
‘Truth’?
 The power of documentary to reveal a ‘truth’ grants it
special status

 To ‘document’ a subject implies keeping a factual
record for future reference

4
John Grierson (1930s-1940s)

Education
+
Propaganda
=
Social reform?

5
Expositional documentary
 See Bill Nichols (1991/2004)
 Tended to depict institutions, communities
and traditions
 Public mode of address:
 Highly formal
 Serious
 Educational

 Aimed at informing citizens in a mass
democracy.

6
Observational documentary
 1950s onwards
 cinema vérité (‘cinema truth’ or ‘direct
cinema’)
 observe and record the reality of
everyday life as it happened without the
usual organisational planning and
structured direction

7
Fred Wiseman

High School
(1968, USA)

8
Planet Earth (BBC, 2006)

9
Faking it?

10
real / reality / realism

11
Genre hybrids – ‘fly on the wall’
 Paul Watson’s The Family (1974/2008)
 Roger Graef’s Police (1982)
 Filming events exactly as they happened
 Agreeing in advance the specific subjects
to be filmed
 Showing the edited version to the
participants, but only to ensure any factual
errors may be corrected

12
Critique
 ‘To be sure, some documentarists claim to be objective –
a term that seems to renounce an interpretive role. The
claim may be strategic, but it is surely meaningless.
 The documentarists, like any communicator in any
medium makes endless choices. He (sic) selects
topics, people, vistas, angles, lens, juxtapositions, sounds,
words.
 Each selection is an expression of his point of
view, whether he is aware of it or not, whether he
acknowledges it or not.’
 Erik Barnouw (1993: 287)
13
Ideological construction

14
BBC2 (2004), Adam Curtis

15
Contemporary developments
 Genre hybridity
 Deregulation of broadcasting
 Competition for attention
 Driving School (BBC, 1997)
 11 million viewers

16
Participatory mode
 Welcomes direct engagement
between filmmaker and subject(s)
 Filmmaker:
 becomes part of the events being
recorded
 is acknowledged (even celebrated) for
their impact on events
 Michael Moore
 Nick Broomfield

17
Reflexive mode
 Acknowledges the constructed nature of
documentary
 Artifice is exposed
 Not ‘truth’ but a reconstruction of ‘a’
truth, not ‘the’ truth

 Frequently features the film-maker making
the documentary
 De-mystifying its processes

18
Reflexive mode

19
Performative mode
 Emphasizes the subjective nature of the
filmmaker
 Polemical, evocative and aiming for affect
 Morgan Spurlock
 Louis Theroux
 Nick Broomfield
 Michael Moore

20
Authored documentaries
 Fronted by an investigative anchor who is
frequently positioned at the centre of an
unfolding narrative
 A meta commentary (often via voice-over)
on the nature of documentary making and
representation as processes of construction
 Deeply personal

21
22
Louis and the Nazis (2003)
23
Historical reconstructions?
 Challenges posed by distance from the event:
 Funding
 Interviews with participants
 Access to archive footage
 Copyright clearance

24
Man on Wire (2008)

25
Ethics
 Challenges posed by documenting criminal activity
 Access to participants
 Undercover surveillance
 Honeytraps
 Legality

26
The Imposter (2012)

27
Supersize Me (2004)

28
Interactive documentary
 Non-linear and interactive
 Audience as active participant

 Funding problems
 Required skillset
 Exhibition

29
30
31
32
33
Summary
 Long history of documentary production – origins in
educating with the aims being to bring about social
change.
 Special power of documentary to report the ‘truth’ – to
expose hidden agendas and ideological malfeasance.
 However, this attempt to speak to the truth is also
ideological – the film-maker selects what should be
seen, structures it, etc.
 Various genre transformations to draw attention to the
constructed nature of the format

34
Sources
 Erik Barnouw (1993), Documentary: A History of the Non-Fiction
Film, Oxford University Press
 Stella Bruzzi (2000), New Documentary: a critical introduction, London:
Routledge
 Simon Cottle (2009) Global Crisis Reporting: Journalism in the Global
Age

 Bill Nichols (2004) Introduction to Documentary - 2nd
Edition, Bloomington, Indiana University Press.
 Amir Saeed (2007) 'Media, Racism and Islamophobia: The
Representation of Islam and Muslims in the Media', Sociology Compass
(1) (2007) (available at http://www.blackwellsynergy.com/doi/pdf/10.1111/j.1751-9020.2007.00039.x)

35

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Med105 documenting facts, truth narrative form

  • 1. Documenting Facts? Documentary: ‘truth’ and narrative forms #med105 robert.jewitt@sunderland.ac.uk 1
  • 2. Overview  Documentary  History  Formats  Critique  Multimedia developments 2
  • 4. ‘Truth’?  The power of documentary to reveal a ‘truth’ grants it special status  To ‘document’ a subject implies keeping a factual record for future reference 4
  • 6. Expositional documentary  See Bill Nichols (1991/2004)  Tended to depict institutions, communities and traditions  Public mode of address:  Highly formal  Serious  Educational  Aimed at informing citizens in a mass democracy. 6
  • 7. Observational documentary  1950s onwards  cinema vérité (‘cinema truth’ or ‘direct cinema’)  observe and record the reality of everyday life as it happened without the usual organisational planning and structured direction 7
  • 11. real / reality / realism 11
  • 12. Genre hybrids – ‘fly on the wall’  Paul Watson’s The Family (1974/2008)  Roger Graef’s Police (1982)  Filming events exactly as they happened  Agreeing in advance the specific subjects to be filmed  Showing the edited version to the participants, but only to ensure any factual errors may be corrected 12
  • 13. Critique  ‘To be sure, some documentarists claim to be objective – a term that seems to renounce an interpretive role. The claim may be strategic, but it is surely meaningless.  The documentarists, like any communicator in any medium makes endless choices. He (sic) selects topics, people, vistas, angles, lens, juxtapositions, sounds, words.  Each selection is an expression of his point of view, whether he is aware of it or not, whether he acknowledges it or not.’  Erik Barnouw (1993: 287) 13
  • 15. BBC2 (2004), Adam Curtis 15
  • 16. Contemporary developments  Genre hybridity  Deregulation of broadcasting  Competition for attention  Driving School (BBC, 1997)  11 million viewers 16
  • 17. Participatory mode  Welcomes direct engagement between filmmaker and subject(s)  Filmmaker:  becomes part of the events being recorded  is acknowledged (even celebrated) for their impact on events  Michael Moore  Nick Broomfield 17
  • 18. Reflexive mode  Acknowledges the constructed nature of documentary  Artifice is exposed  Not ‘truth’ but a reconstruction of ‘a’ truth, not ‘the’ truth  Frequently features the film-maker making the documentary  De-mystifying its processes 18
  • 20. Performative mode  Emphasizes the subjective nature of the filmmaker  Polemical, evocative and aiming for affect  Morgan Spurlock  Louis Theroux  Nick Broomfield  Michael Moore 20
  • 21. Authored documentaries  Fronted by an investigative anchor who is frequently positioned at the centre of an unfolding narrative  A meta commentary (often via voice-over) on the nature of documentary making and representation as processes of construction  Deeply personal 21
  • 22. 22
  • 23. Louis and the Nazis (2003) 23
  • 24. Historical reconstructions?  Challenges posed by distance from the event:  Funding  Interviews with participants  Access to archive footage  Copyright clearance 24
  • 25. Man on Wire (2008) 25
  • 26. Ethics  Challenges posed by documenting criminal activity  Access to participants  Undercover surveillance  Honeytraps  Legality 26
  • 29. Interactive documentary  Non-linear and interactive  Audience as active participant  Funding problems  Required skillset  Exhibition 29
  • 30. 30
  • 31. 31
  • 32. 32
  • 33. 33
  • 34. Summary  Long history of documentary production – origins in educating with the aims being to bring about social change.  Special power of documentary to report the ‘truth’ – to expose hidden agendas and ideological malfeasance.  However, this attempt to speak to the truth is also ideological – the film-maker selects what should be seen, structures it, etc.  Various genre transformations to draw attention to the constructed nature of the format 34
  • 35. Sources  Erik Barnouw (1993), Documentary: A History of the Non-Fiction Film, Oxford University Press  Stella Bruzzi (2000), New Documentary: a critical introduction, London: Routledge  Simon Cottle (2009) Global Crisis Reporting: Journalism in the Global Age  Bill Nichols (2004) Introduction to Documentary - 2nd Edition, Bloomington, Indiana University Press.  Amir Saeed (2007) 'Media, Racism and Islamophobia: The Representation of Islam and Muslims in the Media', Sociology Compass (1) (2007) (available at http://www.blackwellsynergy.com/doi/pdf/10.1111/j.1751-9020.2007.00039.x) 35

Hinweis der Redaktion

  1. Key Examples of the Reflexive Mode include:DzigaVertov'sMan with a Movie Camera (1929) - documents the mechanization of Soviet life in late 1920s - the mechanical camera and cameraman become part of the subjectThe art of making pictures is part of this "new" mechanical work and it to is part of the film - we literally at points in the film see the film being constructed Perhaps a film like Catfish or Exit Through The Gift Shop might fit this bill?