Research into Documentary genres and modes

The definition of a documentary is a factual film or TV programme

which presents facts, information on political, historical and social
issues.

Documentaries are suppose to document reality, however it is

impossible to present this reality without it being a construction of
the truth as people may present the Hawthorne effect or the
documentary may be edited in a way where it presents a particular
perspectives therefore they cannot be objective. Documentary
makers often decide on a thesis before the construction of the
documentary.

There are 6 modes to a documentary

1.) The poetic mode

This mode illustrates subjective interpretations of the subject; it

is rhetoric yet has a traditional content. Characters and events
are undeveloped to create a particular mood or tone. Also it
consists of unrelated shots that in some way link together, this
illustrates subjective impressions. It transforms historical material
into an abstract and lyrical form. This mode also resembles
sections of the world.

2.) The expository mode

This is where there is a move away from the poetic mode and the
there is an emphasis on social issues, it explains and argues
more but it a narrative way, and this is supported by footage
collected to strengthen the spoken narrative. Theses expositional
images help to illustrate, illuminate and what is being said, they
are used as evidence and demonstration.

The expository mode where you engage in rhetoric with visuals

to support the spoken information makes up the bulk of
documentaries and is used today in the news, film and television
programmes.

3.) The Observational mode

This mode developed in the 1960s where there was an evolution

and innovation in cinematic hardware, it was stated by Dziga
Vertov that this was a mode where it would capture chaos and
complex combinations of movement, as well as movement and
sound together. This is where technology advanced resulting in
 smaller and lighter cameras, which made is easier and less
intrusive to document real life, in its own habitat. Actors where
free to act, and the documentary makers where free to film
without having to interact with each other. They were now able
to anchor the camera on a tripod, which allowed simple
observations and the audience where able to draw their own
conclusions.

4.) The participatory mode

This is where the film- maker and the interviewee interact with
each other in a conversation with a series of questions and
answers, whilst filming. The cameraperson could now appear in
their own work, this enabled the documentary to express
genuine thoughts and feelings for the interviewee.

5.) The reflexive mode

This mode relates to the quality and truthfulness of the

documentary, it criticizes the observational mode as it questions the
ability to present the truth. In this mode it considers the pragmatics
and implications and tries to get the audience to read in-between
the lines, to construct a informed opinion.

6). The Performative mode

This mode is best suited to the film-maker as it is deeply personal,

and tells stories of film-makers from marginalized social groups; this
allows them to illustrate their own perspectives without having to
validate their experiences. This gives room for creative freedom in
terms of narrative and abstraction.

This is where emotional and subjective aspects of the documentary

are acknowledged. These ideas are presented as part of the
context, but there are different meanings for different people.

All these different mode respond to the phases in which

documentaries have developed, as new generations emerge,
these modes are either challenged, or re-invented, new
forms and conventions of documentaries.