Documentary Modes

Documentaries have an array of purposes pivoting on several variables, such as the mode of the documentary & the documentarians opinion/ argument. (Purposes include: to record, to reveal, to persuade, to express a view/ opinion  There are six central documentary modes/ film styles (developed by American documentary theorist Bill Nichols) namely, Participatory, Expository, Reflexive, Observational, Poetic and Performative ; each mode have distinct styles, traits situations and events. Conventions from different modes can overlap, for example BBC's and David Attenborough's 'Frozen Planet' has four modes, namely: Observational, Reflexive, Expository and Participatory. 

The participatory mode encompasses engagement between the film maker and subject(s). The film maker is apart of the experience and is visible  to the audience, intervenes and participating in the action. The filmmaker has a degree of authority and control over the events; for example, interviews are controlled by the filmmaker. Interviews dominate screen time and are more often than informal & not 'on the go'. However archive materical is still used i.e. news footage and newspaper headlines. “The filmmaker steps out from behind the cloak of voice-over commentary, steps away from poetic meditation, steps down from a fly-on-the-wall perch, and becomes a social actor (almost) like any other. (Almost like any other because the filmmaker retains the camera, and with it, a certain degree of potential power and control over events.)". The participatory mode tends to have location shootings (hand held cameras), this ultimately allows the documentarian to follow the action. Expository documentaries intentions are to expose controversial information that hasn't been seen before and to persuade the audience to one side of  the dispute. The documentarian uses both voice-overs (usually an expert in the field/ subject) and illustrations (interviews, stills & archive material) are used both to deliver the message. The filmmaker uses the voice-overs to explain and argue the message/ issue they wish to expose. Editing is used for continuity to create a link between the voiceovers and illustrations. In reflexive documentaries the documentarian's presence in acknowledged and can often be the main character/ focal point. The filmmaker creates a relationship between themselves and the audience. The documentarian gives some narrative guidance, however, they don't attempt  to shape the viewers opinion allowing them to make one for themselves. Reflexive documentaries attempt to present a equal argument however the documentarians opinions/ views are usually integrated. Observational documentaries are purely observational (also know as fly on the wall), this means no music (Only synchronous  sound are used), no interviews, no scene arrangement of any kind, and no narration.  The documentarians role is limited, observing with no intervention. Observational documentaries tend to shadow a person or event remaining as unobtrusive as possible. The effectively allows the audience to reach an un-biesed conclusion. “I, a camera, fling myself along…manoeuvring in the chaos of movement, recording movement, startling with movements of the most complex combinations.”- The 'fly on the wall' creates the effect as if the viewer is witnessing the events unfolding in first-hand.  Poetic documentaries focuses on the hidden truth via techniques such as emphasised visuals and narrative; the documentarian gives subjective view and presents it in unique structure. The documentarian uses mies-en-scnece ( in particular music and lighting) to create a particular mood. The Performative mode encompasses interaction between the crew and subject. The documentary maker comments on the process of making the documentary and addressees the audience in an direct manner. This mode emphasises the emotional and social impact on the audience.