Documentary Styles

Let's continue viewing Bowling For Columbine.

All documentaries have similar basic principals and/or qualities:

1. The events depicted in the film are unstaged; the events exist above and beyond the diegesis (the film world) or the act of filming them. The unstaged nature of the events suggest that the events or subjects have an existence independent of the cinema, thus granting them an air of authenticity or "realism".

2. Documentaries are understood to be non-fiction films. The world or diegesis of what appears on screen is considered real, not imaginary (as in fiction films).

3. It is often assumed that the documentary film maker observes, recording events or subject matter objectively. This is, of course, an untrue or uninformed statement.

There are Five different TYPES of documentary:

A. Expository documentary: the film maker's commentary acts as the "voice-of-God", often giving information or perspectives external to the filmed world in order to "see the world afresh, even if the world seems romantic (idealized) and/or didactic. Here's an example: the Last Lions (2011)

B. Observational documentary: The film maker records events depicted in the film unobtrusively, without intervention from the film-maker, capturing "real life" without commentary, intertitles, or interviews. The documentary type depicts a "slice of life" or direct representation without comment or subjectivity of the film maker. The film maker is completely invisible and/or uninvolved. the French film: Etre et Avoir about elementary schools in France.

C. Interactive documentary: The filmmaker's perspective and opinion is more evident. Interview styles allow the film maker to participate actively in presenting of events. It is sort of the opposite of the observational documentary. Sometimes the film maker him/herself is present in the film, asking questions or juxtaposing their opinion with others. Unlike expository documentaries, the film maker is present instead of a disembodied voice of authority (god).

Roger & Me (1989) but also Bowling For Columbine, Morgan Spurlock's Super Size Me (2004) and Capitalism a Love Story (2009)

D. Reflexive documentary: Going one step further from interactive documentary, the film maker of reflexive documentary does not attempt to hide the convention of film making. You know you are "watching a film" about "making a film." While documentaries are usually considered realistic, the camera work in a reflexive documentary are much more similar to formalism (the opposite style to realism). Example "Man with a Movie Camera" (1928)

E. Performative documentary: Going beyond the reflexive documentary, the performative documentary seeks to evoke mood or atmosphere traditionally found in fiction films. It can be downright avant garde and formalistic. Its purpose is more metaphorical than literal.

One of the most famous performative documentaries is Koyaanisqatsi. Here's a clip.

Sample of previous SOTA creative writing documentaries:

• Post Mortem (2011 winner of the High Falls Film Festival Young Filmmaker's Award) 
• Kadisha Philips: The Nicki Syndrome (2010) & Teen Point of View: Teens Around the World (2010); Kadisha is now working at VH1 in New York City. 
• Another student film (Interactive Documentary style): One Girl At a Time (Kyle Cox--not a SOTA student...)

I'd Like to Make a Film. How do I Start?

Research your chosen topic. It is likely you have to uncover some basic details and information about your subject matter. Just like previous research assignments, record any citations. You will need to give credit in your film for any quotes or materials you use that are not yours. Take notes on facts, statistics, definitions, or other information that will help you tell your story.

After you have researched your topic a bit, you should decide what KIND of documentary you intend to make. You have various options. Pick one of the five types from above.

If you are going to begin interviewing, write a few questions you will ask all of your interviewees. Perhaps you would begin your film by writing a VOICE OVER script. Remember that, just like in fiction, speech writing, or poetry, you want to HOOK the viewer's attention. Give us a reason to care about your topic by introducing the topic in a creative and interesting way.

When interviewing, set the camera up to focus on your subject(s). Try not to shoot the film entirely head on. Instead, it is better that you sit next to the camera and record, so that the interviewee looks at YOU, not the camera head on. Record your interview. Ask follow up questions.

Before you leave your subject, ask to follow the person around with the camera for a bit. Record the subject doing typical things they would normally do in their day. Also, ask permission of your subject to use the information you recorded on film.

Then its editing time! Take only the most interesting parts of the interview and string these together (perhaps with other interviews) or pictures or other footage of your subject doing things.

HOMEWORK: Feel free, for extra credit, to interview one person (or more if you have time) this weekend. Get used to recording subject matter and people. Even if you don't complete this project this year, you will have started practicing what it takes to be a filmmaker.

Be creative and enjoy!