MODES OF

DOCUMENTARY
 INFORMATION TAKE FROM
SIX MODES OF DOC PRODUCTION
BY PETER BIESTERFIELD
MAY 2016
BILL NICHOLS

Bill Nichols was a San Francisco based film educator. In

his 2010 text Introduction to Documentary Nichols
outlined the existence of 6 sub genre documentaries .
EXPOSITORY
Expository documentaries are extensively researched and are often seen as a
visual version of an essay.
They are used to educate and inform the audience on topics they may have
little or no knowledge about.
Common elements of an expository documentary include actuality,
interviews, on screen imagery and a scripted voice over style of presentation.
Some examples of this mode of documentary include The Blue Planet and
The Civil War, to name a few.

Emphasises verbal commentary and argumentative logic

Often uses a narrator
Assumes a logical argument as right and proper via direct address.
Often have a preferred meaning
REFLEXIVE

Encourages audiences to notice the authenticity of the documentary.

Documentaries of this mode challenge expectations.
Examples of a reflexive documentary include Exit Through the Gift
Shop 2010 and The Spaghetti Story 1957.

Acknowledges the nature of a documentary and flaunts it

Shows the audience that it is a reconstruction
Conventional elements of a documentary are exposed and the audience are aware of
them
PARTICIPATORY

When the encounter between filmmaker and subject is recorded and

the filmmaker actively engages with the situation they are documenting.
Nichols.
A documentary that aims for immediacy and point of view (of the
filmmaker). For example, Sicko 2007, Chronicle of a Summer 1960
and Louis Theroux.
The filmmaker often handles a lot of the auditory and camerawork
themselves to give the feel of participation and authenticity.

Welcomes direct engagement

Filmmaker participates and their impact is acknowledged
POETIC
Aim to create a mood.
Also referred to as avant-garde or abstract.
Used to emphasise cinematic values to create an impression.
Elements of a poetic documentary include shot design, composition and rhythm.
Examples of poetic documentaries include N.Y N.Y 1957 and Sans Soled 1983.

Left open for interpretation

Poetical manipulation
Moves away from objective reality
Emphasised visual associations, tonal and rhythmic qualities, description, and favours mood, tone and
texture
OBSERVATIONAL

Also referred to as cinema verite, direct cinema or fly on the wall

documentary. For example, Dont Look Back 1967 and Salesmen 1969.
Aim for cinematic realism
Achieved through technological advances made in the 50s (i.e. faster lenses for
low light conditions and smaller handheld cameras).
These advances allowed even the small of film crews access to shoot anywhere at
any time of day.

Objective reality
Direct cinema/ cinema verite
Filmmaker is neutral and essentially invisible
Not staged : results in rough, shaky almost amateur footage
PERFORMATIVE

Opposite mode to observational.

Emphasise the filmmakers involvement.
Evidence for the filmmakers more extensive knowledge of the subject. Raw
emotion.
A strong what its like to be there perspective.
Examples of a performative documentary include Paris Is Burning 1991
and Night And Fog 1955.

Emphasises the subjective nature of the documentarian

Acknowledges subjective reading
Notions of objectivity are replaced with evocation and affect
Emphasises the emotional and social impact on the audience