Bill NICHOLS' documentary modes
Bill Nichols is an American film critic and documentary theorist best known for his work as founder of the contemporary study of the documentary film. He states that documentaries can be split into these six modes:
EXPOSITORY MODE
This is the most commonly used mode and often uses a 'voice of God' narration to shape the message of a documentary. Although this narrator cannot be seen, they take on an authority which can be amplified by the tone of delivery. Many nature documentaries fall into this category such as the 2005 film 'March of the Penguins'.
OBSERVATIONAL MODE
This mode attempts to observe aspects of the real world as they happen. This typically has no voice over or commentary, limited supplementary music or sound and often no interviews or behavior repeated for the camera. Jan Soldat's 'Hotel Straussberg', Fredrick Wiseman's 'Hospital' and Januz Metz's 'Armadillo' all fall under this mode due to their handheld styles and 'real life' atmospheres.
PARTICIPATORY MODE
This is often considered to be the 'purest' documentary mode as it doesn't try to hide the medium. This means that the filmmaker will often take part in the film by doing on-camera interviews and interacting with their subjects. Sometimes referred to as the interactive mode, this method allows the filmmaker to directly engage with his/her interviewees. Michael Moore is known for using this mode in his documentaries such as 'Bowling for Columbine' and 'Fahrenheit 9/11'. Another example would be Mark Isaacs 2001 short documentary 'Lift'.
PERFORMATIVE MODE
POETIC MODE
Also know as avant-garde, poetic documentaries tend to be experimental, unorthodox and radical. Unlikely to have a clear narrative or intention, this type of documentary relies almost entirely on visual associations, tonal or rhythmic qualities and emphasis on creativity. Will often contain some found archive footage. For example films such as 'Triumph of the Will' 1938, 'Baraka' 1981 AND 'Night Mail' 1936.
REFLEXIVE MODE
This mode is often seen as the most 'difficult' as it not only looks at it's subject, but also draws attention to its own nature in constructing a filmic representation of that subject. Often films that draw attention to themselves as films through direct reference to the tools and devices of the medium. Nick Broomfield is best known for his own reflexive documentary style in films such as
'Biggie and Tupac' 2002.
'Biggie and Tupac' 2002.
General Research
BOWLING FOR COLUMBINE (2002)
D. MICHAEL MOORE
In this documentary, Michael Moore explores the 1999 columbine high school massacre and the much broader issue of gun violence in the united states.
The film falls under both the participatory and the performative mode as Moore plays a very significant role within the films narrative however the film also shows elements of the expository mode through his use of the 'voice of god' narration.
The editing has a big impact on the overall tone, for example the use of montage. 'What a wonderful world' by Louis Armstrong plays alongside various archive clips of mass murder and gun violence.
Moore frequently uses dramatic reconstruction, for example he recreates a short clip of a dog with a gun strapped to it. It is cross cut with a clip of a Michigan state trooper telling the story of two hunters who dressed up a dog in a rifle sling which resulted in one of the men being accidentally shot by the gun. This leads Moore onto the question, 'is the dog to blame, being in possession of the weapon?'
D. MICHAEL MOORE
In this documentary, Michael Moore explores the 1999 columbine high school massacre and the much broader issue of gun violence in the united states.
The film falls under both the participatory and the performative mode as Moore plays a very significant role within the films narrative however the film also shows elements of the expository mode through his use of the 'voice of god' narration.
The editing has a big impact on the overall tone, for example the use of montage. 'What a wonderful world' by Louis Armstrong plays alongside various archive clips of mass murder and gun violence.
Moore frequently uses dramatic reconstruction, for example he recreates a short clip of a dog with a gun strapped to it. It is cross cut with a clip of a Michigan state trooper telling the story of two hunters who dressed up a dog in a rifle sling which resulted in one of the men being accidentally shot by the gun. This leads Moore onto the question, 'is the dog to blame, being in possession of the weapon?'
WHERE TO INVADE NEXT? (2015)
D. MICHAEL MOORE
Moore visits various European countries in order to 'invade' them to learn how the us could improve its own prospects. He explores issues such as education, health care, work and punishment in Europe.
Michael Moore uses a light hearted, comedic approach to address a number of very serious problems with the way America deals with these same topics.
He visits a school in France where he marvels at the four course lunches being served to the students. He compares the meals with a photograph of a generic American canteen lunch before saying "you know it's bad when the French pity you."
He seems to conveniently overlook many of the country's less utopian aspects such as the unemployment crisis or the recent rise in terrorist attacks in France.
Towards the end of the film it started to feel more like a feminist documentary.
Michael Moore doesn't believe in American exceptionalism, he gets lots of financial support from outside the United States.
Moore visits various European countries in order to 'invade' them to learn how the us could improve its own prospects. He explores issues such as education, health care, work and punishment in Europe.
Michael Moore uses a light hearted, comedic approach to address a number of very serious problems with the way America deals with these same topics.
He visits a school in France where he marvels at the four course lunches being served to the students. He compares the meals with a photograph of a generic American canteen lunch before saying "you know it's bad when the French pity you."
He seems to conveniently overlook many of the country's less utopian aspects such as the unemployment crisis or the recent rise in terrorist attacks in France.
Towards the end of the film it started to feel more like a feminist documentary.
Michael Moore doesn't believe in American exceptionalism, he gets lots of financial support from outside the United States.
THE ACT OF KILLING (2013)
D. JOSHUA OPPENHEIMER
This documentary follows the individuals who participated in the Indonesian killings of 1965-66. These 'death squad' leaders reenact their mass killings in a number of different cinematic genres such as lavish musical numbers and classic Hollywood crime scenarios.
As these men recreate the past, the spectator questions if they feel any remorse for what they did. Certain scenarios are recreated for the camera featuring young children screaming and crying and this is very shocking to the audience, particularly when someone yells 'cut' and everyone starts laughing and cheering as though they haven't just performed a mass murder scene with the real killers. One of the gangsters, Anwar Congo, demonstrates several murders he himself carried out, showing no remorse until he takes the roll of the victim in a particular reconstruction, at which point he becomes tearful and appears to retch repeatedly. It is questionable as to whether this 'performance' is genuine or not, perhaps he is simply playing up to the camera?
This documentary follows the individuals who participated in the Indonesian killings of 1965-66. These 'death squad' leaders reenact their mass killings in a number of different cinematic genres such as lavish musical numbers and classic Hollywood crime scenarios.
As these men recreate the past, the spectator questions if they feel any remorse for what they did. Certain scenarios are recreated for the camera featuring young children screaming and crying and this is very shocking to the audience, particularly when someone yells 'cut' and everyone starts laughing and cheering as though they haven't just performed a mass murder scene with the real killers. One of the gangsters, Anwar Congo, demonstrates several murders he himself carried out, showing no remorse until he takes the roll of the victim in a particular reconstruction, at which point he becomes tearful and appears to retch repeatedly. It is questionable as to whether this 'performance' is genuine or not, perhaps he is simply playing up to the camera?
MAN WITH A MOVIE CAMERA (1929)
D. DZIGA VERTOV
This documentary film is both experimental and silent. It is highly reflexive and is also described as an essay film. There are various scenes of city life in Moscow, Kiev and Odessa - this coincides with the faced pace of the film through the 'new wave' editing choices.
Vertov focuses on his fascination with cameras and often sways into the poetic mode through his dreamlike sequences. There is no narration which suggests that the film could also fall under the observational mode as it often simply shows life going on in Russia with no interruptions or involvement from the camera.
This documentary film is both experimental and silent. It is highly reflexive and is also described as an essay film. There are various scenes of city life in Moscow, Kiev and Odessa - this coincides with the faced pace of the film through the 'new wave' editing choices.
Vertov focuses on his fascination with cameras and often sways into the poetic mode through his dreamlike sequences. There is no narration which suggests that the film could also fall under the observational mode as it often simply shows life going on in Russia with no interruptions or involvement from the camera.
SANS SOLEIL (WITHOUT SUN) (1983)
D. CHRIS MARKER
Marker has collected various footage from countries around the world and edited it together in a collage-like form. There is very little synchronised sound and the film relies on small snippets of music and an eerie narration of letters being read from a fictitious character, Sandor Krasna. This voice over rarely matches the on screen visuals and so the viewer is forced to choose between the two and focus on just one, either sight or sound. The film is both a documentary and an essay film. It also falls under the poetic mode.
Chris marker considers the film a 'home movie.' it is experimental and reflexive. The audience is shown some clips of a video synthesizer being used to colourise and distort some of the footage.
The filmmaker uses both archive footage and some of his own as well as some scenes from Japanese horror films. These particular clips have been cross cut with footage of people sleeping on a train. The film flashes from the horror scenes to the serene image of people asleep and back again. Here marker uses the Kuleshov effect to suggest that they are dreaming about the violent images from the horror film scenes.
Marker has collected various footage from countries around the world and edited it together in a collage-like form. There is very little synchronised sound and the film relies on small snippets of music and an eerie narration of letters being read from a fictitious character, Sandor Krasna. This voice over rarely matches the on screen visuals and so the viewer is forced to choose between the two and focus on just one, either sight or sound. The film is both a documentary and an essay film. It also falls under the poetic mode.
Chris marker considers the film a 'home movie.' it is experimental and reflexive. The audience is shown some clips of a video synthesizer being used to colourise and distort some of the footage.
The filmmaker uses both archive footage and some of his own as well as some scenes from Japanese horror films. These particular clips have been cross cut with footage of people sleeping on a train. The film flashes from the horror scenes to the serene image of people asleep and back again. Here marker uses the Kuleshov effect to suggest that they are dreaming about the violent images from the horror film scenes.
NANOOK OF THE NORTH (1922)
D. ROBERT J. FLAHERTY
This is a silent documentary film which depicts the lives of the Inuit people of Canada's northern Quebec region. It has elements of fictional content meaning it can be identified as a docu-drama. Several sequences are staged which Flaherty was criticised for and is often (falsely) referred to as the first feature length documentary film.
It is an ethnological documentary which falls under the observational mode however does use lots of 'fake' footage meaning the film sits on the line between fact and fiction. The scene inside the igloo was filmed using a specially made, three walled space which could accommodate a large camera. The sequence which documents the visit to the trade post of the white man was entirely scripted.
This is a silent documentary film which depicts the lives of the Inuit people of Canada's northern Quebec region. It has elements of fictional content meaning it can be identified as a docu-drama. Several sequences are staged which Flaherty was criticised for and is often (falsely) referred to as the first feature length documentary film.
It is an ethnological documentary which falls under the observational mode however does use lots of 'fake' footage meaning the film sits on the line between fact and fiction. The scene inside the igloo was filmed using a specially made, three walled space which could accommodate a large camera. The sequence which documents the visit to the trade post of the white man was entirely scripted.