Documentary

Question 1

6 modes of documentary

Answer 1

- By Bill Nichols:
. Poetic mode
. Expository mode
. Observational mode
. Participatory documentaries
. Reflexive documentaries
. Performative documentaries

Question 2

Poetic Mode

Answer 2

. Arranges shots by means of association, tone, and rhythm rather than linear continuity
. “moves away from an objective reality…to grasp at an inner truth”
. The audience is shown a subjective rep of reality with visual emphasis
. Often rely on colour, sounds, tones, mood
. Usually associated with avant-garde filmmaking

Question 3

Examples of Poetic Mode

Answer 3

. The House is Black (1962) dir. Forough Farrokhzad
. Samsara (2011) dir. Ron Fricke
. Kayaanisqati (1982) dir. Godfrey Reggio

Question 4

Expository Mode

Answer 4

. Most familiar mode: used in TV and nature docs
. ‘voice of God narration’
. Sometimes referred to as essay films
. ‘assume a logical argument’, present facts neutrally
. May talk about controversial subjects but aim is to inform objectively

Question 5

Examples of Expository Mode

Answer 5

. Frozen Planet (2011) nar. David Attenborough (all)
. Nanook of the North (1922) dir. Robert Flaherty
. March of the Penguins (2005) dir. Luc Jacquet
. An Inconvenient Truth (2006) dir. Davis Guggenheim

Question 6

Observational Mode

Answer 6

. cinema verite, direct cinema, fly on the wall doc
. Specific type of doc making born out of 1960s/70s
. Filmmakers had ability to observe subjects without intruding due to advances in cam/sound equipment
. Direct cinema: best way to see truth is to view without involvement
. Footage is shakey and raw. Nothing staged

Question 7

Examples of Observational Mode

Answer 7

. Don’t Look Back (1967) dir. D.A. Pennebaker
. Etre et Avoir (2002) dir. Nicolas Philibert
. Armadillo (2011) dir. Janus Metz Pedersen

Question 8

Participatory Documentary

Answer 8

. Investigative: a question is asked/controversial topic is explored
. Filmmaker can become integral part of film
. Filmmaker/dir might follow subject around asking questions (e.g. Louis Theroux)
. Filmmaker/dir doesn’t influence subject but will try to subjectively engage with them despite their personal beliefs

Question 9

Examples of Participatory Documentary

Answer 9

. Icarus (2017) dir. Bryan Fogel
. Any Louis Theroux
. Aileen Wuornos: The Selling of a Serial Killer (1992) dir. Nick Broomfield
. Bowling for Columbine (2002) dir. Michael Moore

Question 10

Reflexive Documentaries

Answer 10

. Acknowledges that docs can’t show a purely objective and truthful subject due to processes involved
. Decisions made during production will change the story, intentionally or otherwise
. Provokes audiences to “question the authenticity of documentary in general”

Question 11

Examples of Reflexive Documentaries

Answer 11

. Exit Through the Gift Shop - Banksy (2010)

. The Man With a Movie Camera (1929) dir. Dzigo Vertor

Question 12

Performative Documentaries

Answer 12

. Opposite of observational
. Emphasise and encourage filmmaker’s involvement with the subject
. Emotionally driven, may have a larger political or historical motivation
. Usually subjective one way or another
. Set out for perspective>truth

Question 13

Examples of Performative Documentaries

Answer 13

. Super Size Me (2004) dir. Morgan Spurlock
. Catfish (2010) dir. Ariel Schulman and Henry Joost
. Night and Fog (1956)
. Tongues United (1990) dir. Marlon Riggs

Question 14

Documentary modes used in Amy

Answer 14

. Expository: voice over is the guide through Amy’s story provided by voices of Kapadia’s interviewees
. Observational: some digital footage assembled was originally filmed to unconsciously document Amy’s life
. Participatory: Kapadia conducted 100s of hours of interviews with Amy’ associates, he has a clear POV

Question 15

Documentary quotes

Answer 15

. “true fiction” Asif Kapadia
. “the creative treatment of actuality” John Grierson
. “Documentaries are a form of journalism” Michael Moore

Question 16

Amy’s death - end of film

Answer 16

. Aerial shots of London: filmed for film, Amy’s impact
. Voice over of friends/loved ones
. Amy wanting to give up fame: blame the press
. Shots from 3 diff angles of her body - press hounding
. Images of Amy looking older than 27: potential
. Amy on cover of Rolling Stone: her fame
. Kapadia aims to ‘de-star’ her + show her impact

Question 17

Blake and drugs

Answer 17

. Blake as villain - introduced her to drugs
. Blake tells Amy to go somewhere else - obedience
. Kapadia chooses what to show audience
. “I’m happy if my husband’s happy”
. Vulnerable + defenseless Amy - looks spaced out
. Blake deflects blame in audio interview
. Didn’t call ambulance when Amy od’d

Question 18

Amy and Ronson

Answer 18

. Footage filmed for record company
. Ronson discussing Amy and her work ethic - praise
. Amy’s vocals with lyrics on screen: emphasis on meaning - creates villain in Blake more
. “it’s a bit upsetting at the end”
. Death of grandma afterwards - tragedy after tragedy

Question 19

Digital Technology - Original footage

Answer 19

. Kapadia shot very little footage
. Aerial shots of London professionally shot, in contrast with most of rest of film
. Rest of footage comes from range of sources

Question 20

Digital Technology - Multiple filmmakers

Answer 20

. Amateur: her friends, concerts
. Professional: chat shows, special performances
. Kapadia’s role is editor: creating a complete and satisfying narrative
. Amy couldn’t have been made 20 years ago
. Digital tech changes pace of editing

Question 21

Digital Technology - Amy before Fame

Answer 21

. Digital + analogue footage gives insight into life
. Raw footage edited digitally
. Reminder of how ubiquitous recording stuff has become
. Makes her life more visceral + hard hitting - fleshed out back story
. Footage wasn’t recorded for doc

Question 22

Digital Technology - Editing: a controversial life

Answer 22

. Kapadia selects and edits footage covering more sensitive areas of her life - bulimia, addiction, Blake
. Makes Blake, her father, press villains

Question 23

Digital Technology - Unseen interviews

Answer 23

. Manipulation + montage effect of using footage alongside interviews is what gives the film its power
. Did audio interviews to build trust w interviewees
. Makes it easier for Kapadia to cut + paste what folks say to make it fit his narrative - no cut aways needed bc we can’t see them