The 6 Documentary Types Explained
We distinguish six documentary types, or modes, developed by film theorist Bill Nichols, to help you assess how a filmmaker deals with the truth in his or her film.
When using documentary films to learn about the world we live in, it is important to understand how objective a particular film is. The ethos of documentary filmmaking adheres to principles such as truthfulness, integrity, responsibility, transparency, thorough research, and independence. Filmmakers who do not take these principles seriously risk being expelled from documentary community.
That said, however, documentary films are rarely completely objective. Filmmakers are humans and always introduce some bias, which significantly influences how stories are told and perceived. When filmmakers incorporate their personal perspectives and interactions into the narrative, it shapes the audience’s understanding of the subject matter. This subjectivity can bring depth and authenticity, often highlighting the filmmaker’s genuine connection and emotional engagement with the topic. However, it also introduces bias, as the filmmaker’s views and experiences can color the portrayal of events and characters.
Consequently, while subjectivity can make documentaries more relatable and compelling, it also necessitates a critical viewing approach to discern the underlying biases and their impact on the overall narrative. In this article, we explain how the six documentary types help you do this.
Content
Emphasizes mood and Emotional thinking
Poetic Mode.
- Focuses on the aesthetic aspects of documentary filmmaking.
- Emphasizes visual and auditory rhythms, patterns, and the beauty of the image rather than a traditional narrative structure.
- Examples often include abstract, experimental, or avant-garde documentaries, such as the acclaimed “Surplus, Terrorized into Being Consumers”
The poetic mode often challenges traditional ways of understanding and interpreting information by engaging viewers on an emotional level.
The poetic mode of documentary filmmaking emphasizes aesthetics, mood, and visual beauty over traditional narrative structures. It employs rhythmic editing, experimental visuals, and evocative soundscapes to create an emotional and sensory experience for the viewer. Rather than conveying information through a straightforward narrative, the poetic mode seeks to elicit feelings and reflections, encouraging viewers to engage with the subject matter on a more abstract and interpretive level. This approach highlights the artistic possibilities of documentary filmmaking, blurring the lines between reality and artistic expression.
Emphasizes information transfer
Expository Mode
- Uses a narrator or a voice-over to convey information directly to the viewer.
- Aims to educate or inform, often using a “voice of God” narration style.
- Common in traditional TV documentaries that present facts and historical information.
- Examples: Ken Burns’ “The Civil War,” nature documentaries like “Planet Earth”, or PBS’ “America’s Great Divide”
The Expository Mode aims to convince the audience of a particular perspective through authoritative narration and a structured presentation of information.
The expository mode of documentary filmmaking is characterized by its objective to inform and persuade the audience through a structured and authoritative presentation of facts and arguments. This documentary type, very common on television, typically features a narrator who provides commentary, often referred to as the “voice of God,” which guides the viewer through the narrative. The use of interviews, archival footage, and visual evidence supports the arguments being made. The filmmaker’s intent is to present a compelling and logical case, making complex topics accessible and convincing to the audience.
Emphasizes objectivity
Observational Mode
- Attempts to capture reality as unobtrusively as possible.
- Avoids using narration, interviews, or music; the camera simply observes the subject.
- Often associated with cinema verité or direct cinema.
- Examples: Frederick Wiseman’s documentaries, such as “Near Death”
While subjectivity is inherent in the choice of subject, the observational mode aims for an objective presentation by minimizing the filmmaker's direct influence.
The observational mode documentary strives to present an unmediated view of reality by capturing events as they happen, with minimal interference from the filmmaker. This mode relies on long takes, natural sound (no music), and an unobtrusive (fly-on-the-wall) camera presence to create a sense of immediacy and authenticity. The filmmaker’s intent is to immerse the viewer in the daily lives and environments of the subjects, allowing the audience to draw their own conclusions without the influence of narration or overt direction.
Emphasizes objectivity
Performative Mode
- The filmmaker’s personal experiences, emotions, and perspectives are central to the narrative.
- Focuses on creating an emotional connection and immersive experience for the audience.
- Blurs the line between the personal and the political, highlighting the subjective nature of the documentary.
- Examples: Marlon Riggs’ “Tongues Untied,” or Morgan Spurlock’s “Super Size Me.”
The performative mode often aims to raise awareness or advocate for social change through personal perspectives.
The performative mode emphasizes the filmmaker’s personal engagement and emotional response to the subject matter. This mode blends the filmmaker’s personal narrative with the broader story, highlighting the power of subjective storytelling in exploring complex social and political issues. Often, creative and somewhat poetic methods are employed, such as highly personal first-person voice-overs, evocative music, and stylish camerawork, to create an immersive and emotional experience for the audience.
Emphasizes on objectivity
Participatory Mode
- The filmmaker becomes an active participant in the film.
- Includes interviews, direct involvement, and interaction with subjects.
- The presence of the filmmaker is often acknowledged, making the interaction part of the narrative.
- Examples: Michael Moore’s “Bowling for Columbine,” or Louis Theroux’s documentaries.
The participatory mode aims to raise awareness by actively engaging with the subject, thereby influencing the narrative and steering it towards a particular outcome.
The participatory mode of documentary filmmaking features the filmmaker as an active participant in the narrative. This approach is characterized by direct interactions between the filmmaker and the subjects, typically through interviews and visible on-camera involvement. The goal is to present a personal and interactive perspective, emphasizing the dynamic between the filmmaker and the subject matter. By embedding themselves in the story, the filmmaker recognizes their impact on the narrative, thereby providing a more transparent and subjective depiction of the events being documented.
While the participatory and performative modes share similar goals of raising awareness or advocating for social change, it is important to recognize their different approaches. In the performative mode, the filmmaker is emotionally invested in the narrative but does not influence it through direct interaction. In contrast, the participatory mode involves the filmmaker actively engaging with subjects, shaping and guiding the narrative as a catalyst for events. Therefore, in the performative mode, the filmmaker experiences the events, whereas in the participatory mode, the filmmaker plays a role in influencing them.
Emphasizes on objectivity
Reflexive Mode
- Focuses on the process of documentary filmmaking itself.
- Draws attention to the constructed nature of the documentary and questions the relationship between the filmmaker and the audience.
- Often breaks the fourth wall and includes the filmmaker’s commentary on the filmmaking process.
- Examples: Dziga Vertov’s “Man with a Movie Camera,” or Orson Welles’ “F for Fake.”
By drawing attention to the filmmaking process itself, the reflexive mode explores the construction of reality. Is what we see the truth and vice versa?
The reflexive mode focuses on the process of documentary filmmaking itself, drawing attention to the constructed nature of the documentary. This mode often includes scenes that reveal the presence of the filmmaker, crew, and equipment, and may feature commentary on the filmmaking process. The intent is to make viewers aware of the documentary as a mediated representation of reality, encouraging them to critically examine the methods and ethics of documentary production. It prompts viewers to question whether what they see is the truth and vice versa, emphasizing the subjective nature of documentary filmmaking and the potential manipulation involved in creating a narrative.
