1. Five Modes of Documentary Representation The Expository Mode of Documentary Representation

2. Table of Contents 1) General ideas of documentary films 2) Five modes of documentary films 3) Expository mode of documentary representation 4) Robert Flaherty and his documentaries 5) Flaherty and British documentaries

3. General Ideas of Documentary Films Documentary = a factual film or television programme about an event, person, etc., presenting the facts with little or no fiction. Documentary = A film whose representation of its subjects that viewers are intended to accept primarily as factual. A documentary film may present a story or it may not.

4. General Ideas of Documentary Films The positions being questioned: Documentaries are non-fiction films which are sharply distinguished from fiction films. The world depicted in the documentary is real, not imaginary. The documentary filmmaker simply observes and makes an objective record of real events.

5. General Ideas of Documentary Films Documentary films do not create but record reality. - Consist of raw footage of real people, real events and real objects. Truthful reflection of actuality.

6. General Ideas of Documentary Films Are documentary films true to their subjects? Joris Ivens (a controversial Dutch documentary filmmaker) says it is permissible to make up things in non-fiction movies.

7. General Ideas of Documentary Films Filmed in selected mise-en-scène Filmed events are ordered and reshaped in particular montage NOT RECORDED BUT CONSTRUCTED REALITY

8. General Ideas of Documentary Films Documentaries represent events, objects and people only in degrees more truthfully than other types of films. Truthfulness and factuality - only relative concepts NEVERTHELESS: Search for ways in which documentaries represent ‘actuality’ as it really is → Types and schools of documentary filmmaking

9. Five Modes of Documentary Films Types of documentary films - - factual film, ethnographic film, films of exploration, propaganda film, cinéma vérité, direct cinema (Richard Barsama) Expository, observational, interactive, reflective and performative mode of documentary representations (Bill Nichols)

10. Expository Mode of Documentary Films ‘The expository text addresses the viewer directly, with titles or voices that advance an argument about the historical world… Expository texts take shape around commentary directed toward the viewer; images serve as illustration or counterpoint.’ Bill Nichols Voiceover (or subtitles) ‘illustrate’ story and image

11. Robert Flaherty and His Documentaries Robert Flaherty (1884-1951) One of the founding fathers of documentary film

12. Robert Flaherty and His Documentaries “of course, Moana, [1926] being a visual account of events in the daily life of a Polynesian youth and his family, has documentary value.” John Grierson

13. Robert Flaherty and His Documentaries Nanook of the North (1922) - about the daily lives of an Eskimo called Nanook and his family in the Belcher Islands in arctic Canada

14. Robert Flaherty and His Documentaries Flaherty, a prospector, took a movie camera in his expedition and recorded the unfamiliar wildlife and people that he encountered. Lives of the Inuit people

15. Robert Flaherty and His Documentaries TRUTH AND FICTION/ RECORDING AND CONSTRUCTION a)Every scene was planned in advance. … Discussion between Flaherty and Inuits about the filming of the walrus hunt. They may have to give up the kill if it interferes with the film. The reply: “yes, yes, the Aggie will come first, not a man will stir, not a harpoon will be thrown until you give the sign.”

16. Robert Flaherty and His Documentaries b) Nanook made suggestions what to be included. c) ‘Reality’ was touched and modified during filming and editing processes. Traditional costumes specially made and worn; the traditional harpoon was used specially for the film

17. Robert Flaherty and Hid Documentaries ‘… the film is not a straightforward recording of their everyday life: they amiably enacted some of it for Flaherty’s cameras. Bus so honest and instinctive was their playing that it was undoubtedly truth of a sort.’ Delek Malcolm, Guardian journalist

18. Flaherty and British Documentaries John Grierson invited Flaherty to Britain Flaherty laid the foundation for the British documentary-making in the 30s GPO film unit and the Empire Marketing Board Grierson as leader and Flaherty as inspiration, young British filmmakers like Basil Wright, Harry Watts, Alberto Cavalcanti

19. Flaherty and British Documentaries Industrial Britain (1931) Survey of British industry with emphasis on craftsmanship. Aestheticization of reality film

20. Modes of Documentary Film In most of complex documentary films, multiple modes and styles are employed. Expository (images and verbal explanation) Observational (images and sound without verbal explanation) Interactive (interviews and oral history)

21. Complex Documentary One Day in September (2000) by Kevin MacDonald About the kidnapping and killing of 11 Israeli during the 1972 Munich Olympics. Combination of newsreel and archival footage, interviews and voiceover narration

22. Complex Documentary Clear and strong message of film makers Surprising incompetence of the German police Bungling of the rescue mission at the airport