FS6 Critical Studies Section A: The Film Text & The

SpectatorDocumentary

Starter: What are your own What are your own expectations of a expectations of a documentary? What documentary? What techniques might be techniques might be used by a used by a documentary documentary filmmaker to capture filmmaker to capture the ‘real’?the ‘real’?

What are you expected to study?

DocumentaryDocumentary• The study of The study of film languagefilm language in relation to in relation to

the 'real'the 'real' with particular emphasis on with particular emphasis on selection and construction in film selection and construction in film representationrepresentation. Examples may be taken . Examples may be taken from both from both historicalhistorical (such as 30s and 40s (such as 30s and 40s British Documentary) and British Documentary) and contemporary contemporary examples, including work done on video.examples, including work done on video.(taken from the A2 Film Studies specification)(taken from the A2 Film Studies specification)

• Do we, as spectators, ask too much of Do we, as spectators, ask too much of documentary films by expecting ‘reality’ and documentary films by expecting ‘reality’ and ‘truth’? ‘truth’?

• Is it possible to identify consistent cinematic Is it possible to identify consistent cinematic conventions in the documentary films you have conventions in the documentary films you have studied? studied?

• Is there a difference between the way in which Is there a difference between the way in which audiences view documentary and fiction films? audiences view documentary and fiction films?

• Do you think one method of documentary film-Do you think one method of documentary film-making is more likely to capture ‘the real’? making is more likely to capture ‘the real’? Refer to documentaries you have studied.Refer to documentaries you have studied.

Past Paper Questions (1):

(Note: there is no choice of questions on the exam)

Past Paper Questions (2):

(Note: there is no choice of questions on the exam)

• Do you agree that as spectators we are more Do you agree that as spectators we are more likely to accept at face value what we see and likely to accept at face value what we see and here in documentary films? here in documentary films?

• Is ‘objectivity’ possible in documentary Is ‘objectivity’ possible in documentary filmmaking? Refer to documentaries you have filmmaking? Refer to documentaries you have studied. studied.

• ‘‘Documentaries are just as carefully structured Documentaries are just as carefully structured and constructed as fiction films’. Discuss this and constructed as fiction films’. Discuss this statement with reference to documentaries you statement with reference to documentaries you have studied.have studied.

• Discuss the factors that influence the Discuss the factors that influence the representation of the ‘real’ in the representation of the ‘real’ in the documentaries you have studied.documentaries you have studied.

Use of verbal language in Documentaries

• Overheard ExchangeOverheard Exchange: : Recording of Recording of seemingly spontaneous dialogue between seemingly spontaneous dialogue between two or more participants engaged in two or more participants engaged in conversation.conversation.

• TestimonyTestimony: : The recording of information The recording of information or opinion by witnesses, experts or other or opinion by witnesses, experts or other participants. May involve direct address to participants. May involve direct address to the camera, or a voiceover.the camera, or a voiceover.

• ExpositionExposition: : Use of a voiceover or direct Use of a voiceover or direct address to provide essential information address to provide essential information and argument.and argument.

‘Modes’ of DocumentaryBill NicholsBill Nichols (2001)defines (2001)defines six modessix modes of documentary: of documentary:• PoeticPoetic: 'reassembling fragments of the world’, eg, a : 'reassembling fragments of the world’, eg, a

montage of events. montage of events. • Expository orExpository or 'direct address‘:'direct address‘: social issues presented in social issues presented in

a direct form, audience acknowledged sometimes with a a direct form, audience acknowledged sometimes with a ‘voice-of-God’ narration and/or ‘talking heads’‘voice-of-God’ narration and/or ‘talking heads’

• Observational (fly-on-the-wall): Observational (fly-on-the-wall): Developed with Developed with handheld cameras and long takes in the 1950s/60s. handheld cameras and long takes in the 1950s/60s. Audience should not be aware of the filmmaker; an attempt Audience should not be aware of the filmmaker; an attempt to capture reality as it unfolds. Observational techniques to capture reality as it unfolds. Observational techniques can sometimes be described as ‘reactive’ or ‘proactive’.can sometimes be described as ‘reactive’ or ‘proactive’.

• Participatory:Participatory: Film-maker interviews/interacts with Film-maker interviews/interacts with participants.participants.

• Reflexive:Reflexive: Aware that it is constructing its own reality. Aware that it is constructing its own reality.• Performative: Performative: Represents reality in a stylised way that Represents reality in a stylised way that

evokes the mood of fiction films to encourage audience evokes the mood of fiction films to encourage audience engagement. May involve reconstruction of eventsengagement. May involve reconstruction of events

Representation of the ‘Real’

RealityThe real world

MediationThe process of

producing the film.

RepresentationThe film itself.

A ‘representation’ of the real world.

The way someone or something is The way someone or something is representedrepresented is not necessarily is not necessarily reality. reality. For For example you may feel the example you may feel the representationrepresentation of your academic performance In your of your academic performance In your last report does not reflect last report does not reflect realityreality. Although I would beg to differ!! . Although I would beg to differ!! Representations Representations can often be can often be subjectivesubjective rather than rather than objective.objective.

Key Questions to Consider in terms of Representation

• What and who is being represented? (subject matter, participants)

• How they are being represented? (‘macro’ and ‘micro’ features, point of view)

• Who is representing them? (filmmakers and the institutions responsible for

production)

• How might the audience respond to that which is being represented?

(context of reception/possible audience response; preferred, oppositional, negotiated readings…)