Analyzing Documentaries Non-fiction Film Analyzing Documentaries

Fiction vs. Nonfiction Suspension of disbelief Little expectation of truth Usually begins with an outline or a script Expansion of belief Expectation of truth Development is more free form, often less planned

Elements of Nonfiction film Visual track Audio track Text or graphics track

Visual track Primary footage (shot by documentarian) Interviews, re-enactments, surrounding scene, action as it occurs A-roll versus B-roll Archival (or found) footage News broadcasts, home movies, other films,etc Still images Photos, maps, charts, newspaper headlines Example documentary film about famous rock and roll guitarist Cut in---close up shot---show fingers playing guitar Cutaway---scene outside interview---concert footage (B-roll) A-roll---footage of interview with guitarist B-roll—footage of concert, reaction shot from interviewer Could be images of childhood home, school to follow along with text of interview

Audio track All sounds included in film Dialogue Narration Music On-screen, off-screen, Voice of God narration Music Diegetic vs. nondiegetic Sound effects NARRATION On-screen----we hear filmmaker narrating from behind camera, or looks at camera (first person) Off-screen---inserted later but still first person (“I was very nervous that day when I went to his studio”) Voice of God---similar to 3rd person omniscient Can be a famous person Doesn’t interact with action on screen MUSIC Diegetic---music logically heard at the time of filming: radio, interviewee singing or playing Non-diegetic—music added later SOUND EFFECTS Diegetic----baby crying—shows something about subject Non-diegetic---sound effects added after---sound of shot or door slamming, etc.

Text track Writing and graphics Overlaid on visual track Subtitles identifying speaker, song, time period Location Source of footage Effect of titles chosen for people Sometimes there’s no identification Michael Jackson Popstar or Child Molester

Importance of Editing Pre-editing: when is camera on, when off Actual Editing Process of putting sound and images together IMAGE + IMAGE + AUDIO + TEXT = Possible meanings Imagine two documentaries about the same presidential candidate; one filmmaker is a supporter and the other an opponent. “Yes, unemployment right now is high but I feel that America is moving forward again.” Supporter: only included “America is moving forward again”, shots of similing and approving faces in the crowd, “What a Wonderful World” plays Opponent: only included “Unemployment right now is high”, shots of graph showing unemployment going down, “A Downbound Train” plays

Styles and Modes Expository mode Observational mode Interactive mode Reflexive mode

Expository Mode Filmmaker explains a topic to audience Goal to give audience a deeper insight into a topic and possibly to convince them to do something about it Direct address---on or off screen narrator, or purposeful text track. Guides viewer Indirect address---poetic/impressionistic, no direct address or guiding done Nuclear power example Expository film might provide history and background on issue as well as interviews with people knowledgeable or concerned about subject.

Observational Mode A.K.A. “Direct Cinema” Fly on the wall—filmmaker disappears Audience feels like they’re there Minimum of editing or cutting away to other footage Minimum of B-roll footage and nondiegetic music and sound Nuclear power example Observational film might capture a town meeting where community discusses concerns…no b-roll of Chernobyl

Interactive Mode Filmmaker actively involved in issue and in lives of subjects Interactions of filmmaker affects the action seen on-screen Like reality TV Kurt and Courtney---Nick Broomflield films himself railing about Courtney’s supposed involvement with Kurt’s death Nuclear power example Filmmaker actively involved in fight against nuclear power Presence of camera may make town meeting and other protests more well attended

REflexive Mode Aware of itself as film Pulls back curtain and gives audience a glimpse at the inherent difficulties in trying to capture universal truth Often raise questions, problems, and dilemmas about the very act of creating a documentary in the first place

Ethical Issues FILMMAKER has a right to tell her story in the manner best suited to the material and in the style, form, and tone that best suits her purpose

Ethical Issues SUBJECTS in a documentary have the right of “informed consent,” meaning prior knowledge of the purpose of the film and how the filmmaker intends for them to be portrayed

Ethical Issues AUDIENCE has a right know when material presented in the film has been constructed and has a right to be free from intentional deception.