week2 | 261MC

Film it like you can’t cut the video; don’t be afraid of stuff that goes out of focus; good stuff goes even with shaky/ blurred camera

We don’t point the microphone the same way like the camera; because camera shows only what we want to show and microphone has to record everything around.

STAY WITH IT= when you stop recording people get more relaxed and will open up so don’t really stop recording/be prepared to press record again.

Documentary modes:

  • Poetic Documentary

Instead of using traditional linear continuity to create story structure, the poetic documentary filmmaker arrives at its point by arranging footage in an order to evoke an audience association through tone, rhythm, or spatial juxtaposition.

  • Expository Documentary

Also having first appeared in the 1920’s along with the poetic documentary, the expository documentary on the other hand constructs a specific argument or a point of view for the audience. Generally, the formula is a resonating, authoritative voice that tells you something with corresponding footage proving that it is, indeed, true.

  • Observational Documentary

In reaction to previous forms of documentary and to changing camera technology, both Direct Cinema and Cinema Verite movements started to appear in the 1960s that embraced observational documentary — that is, the filmmaker observing truth by letting the camera capture its subjects uninterrupted.

  • Participatory Documentary

Around the same time as Direct Cinema style of observing without interfering showed up, so did the opposite sensibility. The participatory documentary invited the subjects to participate with the filmmaker — usually by being interviewed.

  • Reflexive Documentary

The most Brechtian of the sub-genres, a reflexive documentary is not about the relationship with the filmmaker and the subject, but rather the filmmaker and the audience.

  • Performative Documentary

Showing up in the 1980s along with the reflexive sub-genre, the performative documentary emphasises truth as relative, favouring a personal take over the objective lens.

Anderson-Moore, O. (2015) Nichols’ 6 modes of documentary might expand your storytelling strategies. Available at: http://nofilmschool.com/2015/09/nichols-6-modes-documentary-can-help-expand-your-storytelling (Accessed: 11 October 2016).

 

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