documentary theory & practice

8/6/2019 Documentary Theory & Practice

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Documentary Theory & Practice


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Definitions of Documentary

The creative

interpretationof reality

John Grierson


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Definitions cont. An information programthat is not designed to be

purely entertainment and

which may include dramaor variety techniques in

achieving its information

goal ACTRA Prod.

Agreement

fiction and documentaryhave no real boundaries

Jacques Godbout

a film wherein the

emphasis is on factual

content and not on

fiction Rules ofAcademy of Motion

Picture, Arts & Science

pictoral accounts that

would bring to the fore

otherwise hidden aspectsof nature Siegfried

Kracauer


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We dont like

to use the Dword

Errol Morris


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Trad. Historical Landmarks Reproduction of the Real

Lumieres/Edison (1894-5 1905)

Actualities - Lumieres 1897 on)

Reconstructed events Melies (1899 on)

Newsreels Pathe News founded 1910;

Hearst, Universal, Paramount & Fox (1910-

1912)


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Documentary Theory & Practice Nichols early documentary theory (1977)

Responding to 70s theory formalism;

modes of use of film material equated with

political materialism

Doc neglected by theory accepted too

often as reality screen as transparent

window not reflecting surface


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Formal Structures of

Documentary Nichols: formal structures, codes, units

Doc = not reality frozen in photographic

image

Semiotic system generates meaning by

series of choices continuous selection

Challenge of realism


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Expository Mode

codes of exposition

Modes of address: direct (narration, interviews) &

indirect (voice of social actors) narration may =diegesis of doc exposition

Characters: real people, not actors indirect

relation to exposition

Extra-textual autonomy vs narrator


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Expository Sequence Metz: sequence as

syntagm unit of

narrative autonomy Doc need to hinge

sequence to narration,

exposition

Often fusion of direct

& indirect address


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Direct Address Functions of narrators & characters

Narrator (direct) orders sequences

coherence function promotes verbalsoundtrack to dominance

Denotation (literal signification) primary

organizing component Connotative codes (characters, other

soundtracks, etc.)


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Nonfiction Film Plantinga (1997) seeks new

definitions, theoretical

approaches Nature & function of doc

issues (objectivity, ethics,

chronology), forms &

purposes, uses & FX of

photog & sound recording

Know one when we see one


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Fiction & Nonfiction Fiction manipulation of film materials

So nonfiction transparent? Unmanipulated?

Cf. Grierson creative treatment of

actuality

Wiseman prefers reality-fiction

Counters claim that doc = pure, unmediated

truth


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Fiction/nonfiction Mistake to equate manipulation of film

materials w fiction

Some deny distinction: every film is a

fiction film (Metz, Aumont)

Representations not reality itself

Symbolic & connotative meanings

Represents ideas, uses stylistics


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But too broad eliminates poss of

nonfiction altogether or proposes

impossible requirements

No film can present reality transparently,

offerreality itselfrather than representation

Both fiction & nonfiction manipulate filmicmaterial structure, style, etc


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Past Definitions Nonfiction vs documentary

Broad Definitions - creative treatment of

actuality vs. information film butactuality, not staged too broad

Fiction also explores political, educational,

etc Nichols: doc makes an argument too

narrow


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Failure of trad definitions Cf definitions of art elusive concept

Can simply draw attention to nb properties

Categories have fuzzy boundaries

Think prototypes & lesser examples

But also prototypes change with history Look at Plantingas categories


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Indexing Indexing: film

institutionally IDed asfiction or nonfiction -

encourages spectatorialresponse

Credits, titles, textualcues (eg V-O), formal

conventions Cf. Nichols desire to

know


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Assertive Stance Assertive rather than fictive stance affairs

represented asserted to occur in actual

world portrayed

Cf. Nichols: textual system & real

conditions

Desire to know


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Ambiguity & Indexing Indexing = social phenomenon

Tho indexed as nonfiction, may

incorporate fictional elements hybrid doc (eg. Thin Blue Line)

re-enactments, narrative

mixed with truth claims

murky category

Index/assertive stance only for

clear cases


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Showing & Asserting Yet nonfiction films communicate thru

images (not just V-O, titles etc) pictorial

nature of nonfiction film Notion of showing as characteristic of

nonfiction

Plantinga sticks with assertive stance ascharacteristic can include pictorial as wellas linguistic assertions re actual world

documentary theory & practice

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