1. Participatory/Reflexive/Performa tive documentary UWS Kirsten MacLeod Week 4: 15/10/12

2. Re-cap: Documentary: The Margins of Reality How to deal with and understand something that quite clearly is attempting to represent reality ( or some part of reality) but as it does so, uses specific aesthetic devices. Observational documentaries use specific devices to achieve their mode of storytelling, and representing reality. A commonsense suggestion is that the aesthetics somehow distort or change the reality being represented. This central issue has troubled documentary filmmakers and theorists (the latter more than the former, it has to be said) and has arguably had a debilitating effect on understanding documentaries Paul Ward 2005 - Documentary: The Margins of Reality p.6

3. “Re-presenting” the world We judge a reproduction by its fidelity to the original – its capacity to look like, act like and serve the same purposes as the original. We judge a representation more by the nature of the pleasure it offers, the value of the insight or knowledge it provides, and the quality of the orientation or disposition, tone or perspective it instills. We ask more of a representation than we do of a reproduction. Nicholls. p. 20

4. Realism Realism is a set of conventions and norms for visual representation which virtually every doc text addresses; a voice; mix of style and rhetoric, authorial personality & textual persuasion. Veracity of things, are as they appear in everyday life. Life as lived and observed. Realism in documentary relates primarily to a logic, a commonsensical view of the world. Not only a style, but a professional code, an ethic, and a ritual. (Nichols, 1991 :165)

5. Beyond Observational cinema Errol Morris Errol Morris has described Direct cinema approach to documentary as a sub species of journalism. Argues that there is no reason why documentaries shouldn’t be personal. “truth isn’t guaranteed by style or expression. It isn’t guaranteed by anything” (Arthur, 1993:127). Truth? Morris suggested ‘direct cinema’ and observational documentary set documentary making back. Do we expect an inverse relationship between style and authenticity – the less polished, the more credible?

6. From repropduction to representation… Absolutes of Observational Filmaking not so absolute JEAN ROUCH & cine verite Chronique d’un ete (1961) (Chronicle of a Summer) Filmmaker provokes the situation; is in the film; authors the film; but is open to the world. FOREFRONTING OF FILMMAKING PROCESS Nichols’ category of reflexive – making us aware of the process of filming and what he originally called ‘participatory’ – as the filmmaker interacts with subjects. Influenced French New Wave – Godard.

7. Chronique d’un ete (1961) Show clip - Chronique d’un ete (1961) Details : “The direct cinema documentarist took his camera to a situation of tension and waited for a crisis; the Rouch version of cinema verite tried to precipitate one. The direct cinema artist aspired to invisibility; the Rouch cinema verite artist was often an avowed participant. The direct cinema artist played the role of uninvolved bystander; the cinema verite artist esposed that of provocateur.” (Barnow, 1974: 254-255. Documentary: A History of the non Fiction film, New York: Oxford University Press).

8. Bruzzi, 2001, New Documentary. Bruzzi critical of polarity of FACT & FICTION. Suggests there is an idealized notion of the pure documentary (where image and real relationship is straightforward) and its impossibility. (ref to Winston, 1995:6). Suggests links between diverse docs;

9. Anti- realism Objectivity – as an ideal; whose ideal? Is objectivity the sole way to reveal truth? Bruzzi argues against Barnouw’s assumption that the intervention of the camera necessarily distorts and alters human behaviour, ergo film cannot be objective or truthful, so film has failed.

10. Documentary Modes (according to Nichols) HIDDEN FILMMAKER Expository Observational -hide the role of the filmmaker -Emphasis on the filmmaker’s interpretation of the world FOREGROUND FILMMAKER Participatory Reflexive Performative -Foregrounds the role of the filmmaker. -Shifts emphasis to the way an audience interpret a film.

11. PARTICIPATORY documentary maker and crew interact with the subject interviews dominate but tend to be informal use of archive material – stills, news footage, film. Location shooting, hand-held camera Long takes dominate Synchronous sound recording Voiceover, usually by the documentary maker. Documentary maker is visible to the audience – intervenes and participates in the action.

12. Participatory Participatory approach - where the interactions are part of the final record and their effect significant to the outcome of events, becomes a type of meta-observational film as well. Filmmakers extend their observations to include the process of the exchange between themselves and their subjects in a systematic and substantive manner. (Nichols, 1991:49)

13. PARTICIPATORY The Fog of War, Errol Morris; Michael Moore films, Roger & Me, Bowling for Columbine Nick Broomfield, Tracking Down Maggie; Filmmaker interacts with his/her social actors in shaping what happens before the camera.

14. REFLEXIVE borrows techniques from fiction for an emotional, subjective response – ie music, editing, Emphasises the expressive nature of film; anti-realist techniques, eg. Re-enactments, expressive lighting, dramatic music Voiceover – questioning & uncertain, rather than authoritative. A more postmodern style – questioning of traditional definitions of knowledge & understanding, suggestion that emotion, feeling and atmosphere, as well as facts, informs our view of the world. Appeal to emotion and subjectivity Referring to the process of making films.

15. REFLEXIVE Errol Morris (The Thin Blue Line, 1988; ) Chris Marker (Sans Soleil, 1983); Zidane, 2006 Dir: Douglas Gordon; Galivant, 1997, Dir: Andrew Kotting. Trin Min ha – Reassemblage, 1982. Vertov, Man With a Movie Camera, 1929.

16. Performative “What has emerged in recent documentary practice is a new definition of authenticity, one that eschews the traditional adherence to observation or …the transparency of film and replaces this with a multi-layered, performative exchange between subjects, film-makers/apparatus and spectators.” (Bruzzi, 2001:10) Contemporary examples?

17. Performative documentary maker and crew interact with subject Documentary maker comments on the process of making the documentary Documentary is often shaped into the narrative of an investigation or search, possibly without a satisfactory conclusion. Audience is addressed in an emotional and direct way. Subject matter often concerns identity (gender, sexuality) rather than ‘factual’ topics.

18. Performative Filmmaker appears on screen. Their interaction or lack of, with the subject that is the central focus of the film. Voiceover is by the filmmaker, emphasising their feelings and reactions. Interviews dominate the form, often ‘on the run’, taking interviewee by surprise. Narrative style of journey Peripheral characters become central as the original subject becomes less important. Often marketed on the bais of the director – ‘A Nick Broomfield film’.

19. Performative Develops the questions raised about the function of the documentary maker in the participatory form, foregrounding the way in which documentary represents the real world. While the participatory documentary maker analyses the processes through the interaction between the documentary maker and subject, in the performative doc the emphasis is shifted to the audience, to analyse how the interaction is represented. Similar to Bertolt Brecht’s theory of alienation, which involved revealing the work as a construction and denying the suspension of disbelief.

20. Performative Michael Moore’s films: Bowling for Columbine (US, 2002) and Farenheit 9/11 (US, 2004). Morgan Spurlock’s Supersize Me (US, 2004). Films of Nick Broomfield TV: Molly Dinneen & Louis Theroux.

21. Performative Closely linked to participatory and reflexive modes. Experiments with form – language of the film becomes a performace in itslef rather than just in service to the subject matter (ie Zidane). Theme of performace as a subject matter, developed out of feminist & post modern theorists idea of gender as a performance. Key film here is Jennie Livingstone’s Paris is burning, US, 1990. About New York drag balls. Performace of the documentary maker is central focus of the film, drawing attention to the way the film is constructed. Raises questions of authorship, the director as ‘star’ or ‘clutz’? Michael Moore, Nick Broomfield, Luis Theroux.

22. Films of Encounter Show the documentary process and moment of encounter with their subjects Faunt their lack of concern with conforming to the style of OBJECTIVITY “The action the films represent is the result of a dynamic, dialectical relationship between fact, filmmaker and apparatus” (Bruzzi, 2001: 85)

23. Nick Broomfield Soldier Girls (UK/US, 1981) Tracking down Maggie (UK, 1994) Chicken Ranch (1983) Aileen Wuornos: The Selling of a Serial Killer (1992) Aileen: The Life and Death of a Serial Killer (2003) Kurt & Courtney (1998) Biggie & Tupac (2002) Heidi Fleiss: Hollywood Madam (1995) The Leader, his Driver and the Driver’s Wife (1991) Ghosts (2006) The Battle for Haditha (2007) Sarah Palin: You Betcha! (2011).

24. Broomfield PERFORMATIVE ACTS Films whose truth comes into being at the moment of filming? (Bruzzi, 2001) Film works because it is ‘spontaneous’ and ‘there is never an opportunity to do a second take’ (Broomfield in Macdonald & Cousins 1996:364). ‘there’s no point in pretending the camera’s not there. I think what’s important is the interaction between the film- makers and those being filmed, and the audience is aware of that interaction so they can make decision of their own” (Wise, D., 2002:18). Broomfield’s disillusionment with the obs doc form, “All too often what’s on TV is very cleaned up and dishonest” (Paterson, 1989:53).

25. Broomfield’s Persona Voice: Broomfield has a distinctive middle class, English voice, with a sardonic drawl. Englishness is significant in context of his American films and interviewees perception of him. Costume: typically T-shirt & jeans casual, bomber jacket – battling metaphor. Props: headphones & boom/mic – reminding us he is a documentary maker, not just a presenter. ‘smiley persona has proved most useful in getting his subjects to open up on camera’ (Bruzzi, 2001) Does spontaneity in documentary add to its ‘realness’? What does Broomfield’s presence add to his films?

26. Fiction techniques Uses fiction techniques to structure the documentary. Journey – such as Tracking down Maggie, Nick Broomfield, UK, 1994; Filmmaker must overcome obstacles in order to comlete journey – such as Supersize Me (damage caused by eating too much fast food); Kurt & Courtney – Courtney Love threatens funding of film; These obstacles create suspense for film; often not solved at end

27. Performer- directors Michael Moore Nick Broomfield Molly Dineen Morgan Spurlock Active participants in their films Smash any sense of documentary objectivity. Documentary as dialogue. Create an onscreen persona.

28. Molly Dineen Geri is not simply a biography of an individual, but an examination of celebrity, which includes a certain amount of dialogue concerning Halliwell’s image. Dineen – documentary as a dialogue between filmmaker and subject; plays with the control or not over her subjects. Never appears on screen as a camera person, uses camera to forge an intimacy with people. Behind the camera persona of polite, middle class woman. Gently goading subjects into revealing themselves. The Heart of the Angel (1989) In the company of Men (1995) The Ark (1993) Geri (1999) The Lords’ Tale (2002) The Lie of the Land (2007)

29. Super-Size Box Office In Peter Lee-Wright (2010) points to the success of Morgan Spurlock’s “Super Size Me”: Spurlock uses his own body as a test vehicle for the effects of an exclusive McDonalds diet, with inevitable effects on his weight and health. In 30 days he acquires 24.5 pounds and liver damage; the film acquires nearly $30 Million at the box office world wide.

30. Supersize Me Persona Spurlock, like Broomfield and Michael Moore shapes audience response via the persona he constructs for the camera. Audience don’t know what he is like off camera. This character is self deprecating, humourous, sensitive. Spurlock is one of us against the Goliath of the big fast food corporation. Cinematic success Part of wider concerns about global domination of a few companies and effects on children’s health. Humourous, youth oriented approach. One of the most commercially successful documentaries. Estimated budget of $300,000, taking $11.5 million at US box office.

31. Bruzzi on the Performative Documentary “Documentaries are performative acts, inherently fluid and unstable and informed by issues of performance and performativity. The latter have become increasingly foregrounded as defining concerns of documentary from the continued rise of docu-auteurs such as Michael Moore, to the centrality of performance to reality television and finally to the increased presence of reconstruction in historical documentary where the use of drama has become almost a prerequisite.”

32. Michael Moore Bowling for Columbine (US, 2002) : Moore argues that tragedies such as Columbine massacre are a direct result of gun laws in the US, which in turn can be linked to what he interprets as aggressive US Foreign policy.

33. Cine Clutz Always the provocateur…Moore’s twin abilities to engage and to enrage, in the name of doing subjective, biased, selective and controversial good. Ref: Dave Saunders (2010) - Documentary – (Routledge Film Guidebook) Moore’s films accentuate the means of production

34. Michael Moore Farenheit 9/11 (US, 2004): looks at US response to 9/11 and how that shaped foreign and domestic policy. Bush family’s relationship with the Saudis and Bin Laden family. Controversial. Received a 20 minute standing ovation at Cannes film festival & awarded the Palme d’Or. Moore has also made Roger & Me (1989) about closure & downsizing of General Motors companies in hometown of Flint, Michigan. Sicko ( US, 2007 ) – US healthcare system compared to other systems.

35. Back on the Big Screen Stella Bruzzi points to the shift in public perception of documentary in the years between the publication of her first and second editions of her book New Documentary a Critical Introduction. As she sees it ‘the important evolutions that have taken place in recent years have been the renewed popularity of documentaries in the cinema ( in the wake of Michael Moore’s Bowling for Columbine) and the advent of reality television and its close relative the formatted documentary. What both of these indicate is that documentary has become a global commodity in a way it was not a mere six years ago’. (2006) For next week – investigate documentaries at the cinema – look up films which have been box office successes. Watch films of Michael Moore, Molly Dineen, Nick Broomfield.

36. BBC Academy College of Production http://bbcsignups.external.bbc.co.uk/inxmail4 /html_mail.jsp?params=1482006+kirstenmac %40clara.co.uk+0+en40k0gx0i000gw4- http://bbcsignups.external.bbc.co.uk/inxmail4 /html_mail.jsp?params=1482006+kirstenmac %40clara.co.uk+0+en40k0gx0i000gw4- Twitter chat about shooting to edit.

37. Reading Lee-Wright, Peter (2010) The documentary Handbook Cousins & Macdonald (1996 ) Imagining Reality Bruzzi (2000, 2006) New Documentary Nichols, B (1991) Representing Reality Nichols, B (2010,new edition) Introduction to documentary Baker, M (2006) Documentary in the digital Age. Saunders, Dave (2010) Documentary Woo, J (2005) Nick Broomfield: documenting Icons Faber & Faber: London.