1. Analyzing Documentaries
Non-fiction Film
Analyzing Documentaries

2. 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

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

4. 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

5. 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.

6. 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

7. 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

8. Styles and Modes Expository mode Observational mode Interactive mode
Reflexive mode

9. 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.

10. 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

11. 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

12. 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

13. 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

14. 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

15. 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.