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    Aditi 13

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    Rajrupa Saha
    The document discusses six modes of documentary representation: expository, observational, participatory, reflexive, poetic, and performative. It explains the expository, observational, and participatory modes in detail. The expository mode uses images and narration to illustrate an argument and emphasize objectivity. The observational mode allows directors to record reality without interfering. The participatory mode shows the relationship between filmmaker and subject and involves the director's perspective. Examples are provided for each mode.

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    Aditi 13

    Uploaded by

    Rajrupa Saha
    16 views1 page
    The document discusses six modes of documentary representation: expository, observational, participatory, reflexive, poetic, and performative. It explains the expository, observational, and participatory modes in detail. The expository mode uses images and narration to illustrate an argument and emphasize objectivity. The observational mode allows directors to record reality without interfering. The participatory mode shows the relationship between filmmaker and subject and involves the director's perspective. Examples are provided for each mode.

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    The document discusses six modes of documentary representation: expository, observational, participatory, reflexive, poetic, and performative. It explains the expository, observational, and participatory modes in detail. The expository mode uses images and narration to illustrate an argument and emphasize objectivity. The observational mode allows directors to record reality without interfering. The participatory mode shows the relationship between filmmaker and subject and involves the director's perspective. Examples are provided for each mode.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
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    16 views1 page

    Aditi 13

    Uploaded by

    Rajrupa Saha
    The document discusses six modes of documentary representation: expository, observational, participatory, reflexive, poetic, and performative. It explains the expository, observational, and participatory modes in detail. The expository mode uses images and narration to illustrate an argument and emphasize objectivity. The observational mode allows directors to record reality without interfering. The participatory mode shows the relationship between filmmaker and subject and involves the director's perspective. Examples are provided for each mode.

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    13. List six modes of documentary representation. Explain any three with relevant examples.

    The six modes of documentary representation are: (1) Expository mode, (2) Observational mode,
    (3) Participatory mode, (4) Reflexive mode, (5) Poetic mode and (6) Performative mode
    Expository mode: This mode is associated with the classic documentary and based on illustrating an
    argument using images. It is a rhetorical rather than an aesthetic mode aimed directly at the viewer
    using text title and phrases to guide the image and to emphasize the idea of objectivity and logical
    argument.
    Example:
    a) Victory at Sea:
    Victory at Sea is a 26-part expository documentary television series about naval warfare during
    World War II. It was originally broadcasted by National Broadcasting Corporation in the United
    States of America during 1952–1953. It was condensed into a film of feature-length version and
    was released in 1954. The narrator of the 26-part series was Leonard Graves and the feature-
    length version was narrated by Alexander Scourby.
    b) Shock of the new:
    Shock of the new is an eight-part documentary television series about the development of
    modern art written and presented in 1980 by Robert Hughes for the British Broadcasting
    Corporation.
    Observational mode: This mode allowed the director to record reality without becoming involved in what
    people were doing when they were not explicitly looking in the camera. Enabled a different approach to
    the subject matter directors prioritized a spontaneous and direct observation of reality.
    Example:
    a) Gimme Shelter:
    Gimme Shelter is a 1970 observational mode American documentary film directed by Albert
    Maysles, David Maysles and Charlotte Zwerin chronicling the last weeks of The Rolling Stones’
    1969 US tour which culminated in the disastrous Altamont Free Concert and the killing of an
    American citizen.
    b) Triumph of the Will:
    Triumph of the Will is a 1935 observational mode German Nazi propaganda documentary film
    directed, produced, edited and co-written by Leni Riefenstahl. Adolf Hitler commissioned the film
    and served as an unofficial executive producer. His name appears in the opening titles. It shows
    the 1934 Nazi Party Congress in Nuremberg, attended by more than 7,00,000 Nazi supporters.
    Participatory mode:
    This mode presents the relationship between the film maker and the filmed subject. This mode makes
    the director’s perspective clear by involving him in the discourse. The director becomes an investigator
    and enters into an unknown territory, participates in the lives of others and gains direct and indirect
    experience and reflection from the film.
    Example:
    a) Shoah:
    Shoah is a participatory mode French documentary film made in 1985 about the Holocaust. It is
    directed by Claude Lanzmann. The film nine hour long film presents Lanzmann's interviews with
    survivors, witnesses and perpetrators during visits to German Holocaust sites across Poland,
    including extermination camps. It took eleven years to make the film.
    b) Man with a movie camera:
    Man with a Movie Camera is a 1929 Soviet silent documentary film in participatory mode. The
    film is directed by Dziga Vertov and is filmed by his brother Mikhail Kaufman, and edited by
    Vertov's wife Yelizaveta Svilova. Kaufman also appears as the eponymous Man of the film.

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