Structures of Different Documentaries

The conventions of Expository importantly include a voice-over that speaks directly to the viewer, which is used in two ways:

• Voice of Authority – wherein the individual doing the voice-over is seen on screen as well as heard (an example being Louis Theroux’s Weird Weekends (BBC Bristol, 1998-2000)). With this type the argument put forward is very much point-of-view, as if to persuade the viewers opinion on something. Images used are there to emphasise the points of the voice-over, or even propose a counter argument.
• “Voice of God” – wherein the voice-over is only heard and never seen (for example, America’s Most Wanted (1988-Present)). The images used in this are not necessarily that important, this is due to the commentary having a more ‘objective’ argument, so images are only there to further the points said.

The way in which this type of documentary persuades the audience is through engaging with the idea of ‘common-sense’.

 

One of the main conventions of Observational documentaries is filming life as it happens, with minimal intervention or influence. This means that location filming is used with hand-held cameras (in most instances), and in some cases a voice-over is used, but there are usually no interviews.

Other conventions include long shots used throughout this type with unobtrusive camerawork, and sound is recorded directly from what is filmed (diegetic).

Typical examples of this style are nature documentaries, e.g. Great Barrier Reef with David Attenborough (BBC, 2015-present).

 

Reflexive Documentaries utilise anti-realist techniques for their conventions; these include re-enactments or dramatic music. This style borrows the features of fictional film to evoke a more subjective audience response.

Again, Louis Theroux’s unique style of film making is known for being partly reflexive, this is as he is attempting to remain impartial but being a casual on-screen interviewer. This way we see the inner working of structure in documentary making.

 

Participatory Documentaries (or Interactive documentaries) employ the same techniques of observational documentaries, but illuminate or affect how the film-maker influences a situation – the relationship between the documentarian (and crew) and their subject becomes a crucial part of this style. Usually interviews subjugate the film, and they are mostly informal; questions are mostly thought up on the spot.

To elaborate points, this style often uses archive materials, as well as mainly location shooting on a hand-held camera.

An example of this is Living with Michael Jackson: A Tonight Special (Granada Television, 03/02/2003), wherein Martin Bashir conducts an interview with Michael Jackson, which became unparalleled when given access to the life of this Pop-Star recluse.

 

Much like aforementioned documentary sub-genres, Performative documentaries include the film-makers interacting with the subject. This style often acts without convention or need for a satisfactory result. They usually follow the narrative of an investigation and can be experimental with hypothetical re-enactments. It can also have a strong and personal representation of a certain group (e.g women, minorities, LGBTQ+ group, etc.), wherein they get to “speak for themselves”.

One documentary that uses the performative mode is Tongues Untied (Sygnifyin’ Works, 07/1989), a film which highlights the revolutionary movement of gay black men. It sees Marlon Riggs narrate words of encouragement and talking about equality – it explores the emotion of the subject through the use of actors and intimate videos of the normality of a black gay couple.

 

Documentary Realism contains Surface Realism and Inner/Emotional Realism.

Surface realism refers to the superficiality of making the subject matter ‘real’. This is achieved by how the film is shot, the location, the accent – This is because if the look and sound all seems real, then it must be real (or correct).

The Inner/Emotional Realism refers to how the audience identifies with the documentarian. So if this character acts realistically, the audience will be able to identify with their responses and the emotional aspect to the subject.

 

Dramatization is a main part of prejudiced documentaries; ones with bias. This is because it is when the film builds up exaggeration. This can be bad as it is subjective in the way it presents its facts, and so the narration and documentary itself is exaggerated.

Narrativisation is an ‘effective way of addressing to the audience and telling the story or in this case documentary’ (see Reference List: IV). Dependent on the documentary it is included in, narrativisation can sometimes be a drag.

 

 

Reference list:


Amythechooch. (06/07/2010). Modes of documentary conventions.  Available at <http://www.slideshare.net/amythechooch/modes-of-documentary-conventions> Date accessed: 12/10/2016.


Burton, A. (16/11/2007). Documentary Form. Available at <http://alexburtonjournal.blogspot.co.uk/2007/11/documentary-form.html> Date accessed: 12/10/2016.

Great Barrier Reed with David Attenborough. (2015-). Davis, M. British Broadcasting Company.



Kemp, J. (25/11/2011). Documentary Conventions. Available at <http://www.slideshare.net/JakeKemp/documentary-conventions>  Date Accessed: 13/10/2016

Laurahillll15. (14/12/2012). Documentary style example. Available at <http://www.slideshare.net/laurahillll15/documentary-styles-examples> Date accessed: 12/10/2016.


Living with Michael Jackson: A Tonight Special. (03/02/2003). Shaw, J. Granada Television.


Tongues Untied. (1989). Riggs, M. Signifyin' Works.