A documentary film or documentary is a non-fictional motion picture intended to “document reality, primarily for instruction, education or maintaining a historical record”. Bill Nichols has characterized the documentary in terms of “a filmmaking practice, a cinematic tradition, and mode of audience reception [that remains] a practice without clear boundaries”.
Early documentary films, originally called “actuality films”, lasted one minute or less. Over time, documentaries have evolved to become longer in length and to include more categories. Some examples are educational, observational and docufiction. Documentaries are very informative, and are often used within schools as a resource to teach various principles. Documentary filmmakers have a responsibility to be truthful to their vision of the world without intentionally misrepresenting a topic.
Social media platforms (such as YouTube) have provided an avenue for the growth of the documentary-film genre. These platforms have increased the distribution area and ease-of-accessibility.
Definition
Polish writer and filmmaker Bolesław Matuszewski was among those who identified the mode of documentary film. He wrote two of the earliest texts on cinema, Une nouvelle source de l’histoire (“A New Source of History”) and La photographie animée (“Animated photography”). Both were published in 1898 in French and were among the earliest written works to consider the historical and documentary value of the film. Matuszewski is also among the first filmmakers to propose the creation of a Film Archive to collect and keep safe visual materials.
The word “documentary” was coined by Scottish documentary filmmaker John Grierson in his review of Robert Flaherty’s film Moana (1926), published in the New York Sun on 8 February 1926, written by “The Moviegoer” (a pen name for Grierson).
Grierson’s principles of documentary were that cinema’s potential for observing life could be exploited in a new art form; that the “original” actor and “original” scene are better guides than their fiction counterparts for interpreting the modern world; and that materials “thus taken from the raw” can be more real than the acted article. In this regard, Grierson’s definition of documentary as “creative treatment of actuality” has gained some acceptance; however, this position is at variance with Soviet film-maker Dziga Vertov’s credos of provocation to present “life as it is” (that is, life filmed surreptitiously), and “life caught unawares” (life provoked or surprised by the camera).
The American film critic Pare Lorentz defines a documentary film as “a factual film which is dramatic.” Others further state that a documentary stands out from the other types of non-fiction films for providing an opinion, and a specific message, along with the facts it presents. Scholar Betsy McLane asserted that documentaries are for filmmakers to convey their views about historical events, people, and places which they find significant. Therefore, the advantage of documentaries lies in introducing new perspectives which may not be prevalent in traditional media such as written publications and school curricula.
Documentary practice is the complex process of creating documentary projects. It refers to what people do with media devices, content, form, and production strategies to address the creative, ethical, and conceptual problems and choices that arise as they make documentaries.
Documentary filmmaking can be used as a form of journalism, advocacy, or personal expression.
Other forms
Hybrid documentary
The release of The Act of Killing (2012) directed by Joshua Oppenheimer has introduced possibilities for emerging forms of the hybrid documentary. Traditional documentary filmmaking typically removes signs of fictionalization to distinguish itself from fictional film genres. Audiences have recently become more distrustful of the media’s traditional fact production, making them more receptive to experimental ways of telling facts. The hybrid documentary implements truth games to challenge traditional fact production. Although it is fact-based, the hybrid documentary is not explicit about what should be understood, creating an open dialogue between subject and audience.[36] Clio Barnard’s The Arbor (2010), Joshua Oppenheimer’s The Act of Killing (2012), Mads Brügger’s The Ambassador, and Alma Har’el’s Bombay Beach (2011) are a few notable examples.
Docufiction
Docufiction is a hybrid genre from two basic ones, fiction film and documentary, practiced since the first documentary films were made.
Fake-fiction
Fake-fiction is a genre which deliberately presents real, unscripted events in the form of a fiction film, making them appear as staged. The concept was introduced[37] by Pierre Bismuth to describe his 2016 film Where is Rocky II?
DVD documentary
A DVD documentary is a documentary film of indeterminate length that has been produced with the sole intent of releasing it for direct sale to the public on DVD, which is different from a documentary being made and released first on television or on a cinema screen (a.k.a. theatrical release) and subsequently on DVD for public consumption.
This form of documentary release is becoming more popular and accepted as costs and difficulty with finding TV or theatrical release slots increases. It is also commonly used for more “specialist” documentaries, which might not have general interest to a wider TV audience. Examples are military, cultural arts, transport, sports, etc.
Compilation films
Compilation films were pioneered in 1927 by Esfir Schub with The Fall of the Romanov Dynasty. More recent examples include Point of Order! (1964), directed by Emile de Antonio about the McCarthy hearings. Similarly, The Last Cigarette combines the testimony of various tobacco company executives before the U.S. Congress with archival propaganda extolling the virtues of smoking.
Poetic documentaries, which first appeared in the 1920s, were a sort of reaction against both the content and the rapidly crystallizing grammar of the early fiction film. The poetic mode moved away from continuity editing and instead organized images of the material world by means of associations and patterns, both in terms of time and space. Well-rounded characters – “lifelike people” – were absent; instead, people appeared in these films as entities, just like any other, that are found in the material world. The films were fragmentary, impressionistic, lyrical. Their disruption of the coherence of time and space – a coherence favored by the fiction films of the day – can also be seen as an element of the modernist counter-model of cinematic narrative. The “real world” – Nichols calls it the “historical world” – was broken up into fragments and aesthetically reconstituted using film form. Examples of this style include Joris Ivens’ Rain (1928), which records a passing summer shower over Amsterdam; László Moholy-Nagy’s Play of Light: Black, White, Grey (1930), in which he films one of his own kinetic sculptures, emphasizing not the sculpture itself but the play of light around it; Oskar Fischinger’s abstract animated films; Francis Thompson’s N.Y., N.Y. (1957), a city symphony film; and Chris Marker’s Sans Soleil (1982).
Expository documentaries speak directly to the viewer, often in the form of an authoritative commentary employing voiceover or titles, proposing a strong argument and point of view. These films are rhetorical, and try to persuade the viewer. (They may use a rich and sonorous male voice.) The (voice-of-God) commentary often sounds “objective” and omniscient. Images are often not paramount; they exist to advance the argument. The rhetoric insistently presses upon us to read the images in a certain fashion. Historical documentaries in this mode deliver an unproblematic and “objective” account and interpretation of past events.
Examples: TV shows and films like Biography, America’s Most Wanted, many science and nature documentaries, Ken Burns’ The Civil War (1990), Robert Hughes’ The Shock of the New (1980), John Berger’s Ways Of Seeing (1974), Frank Capra’s wartime Why We Fight series, and Pare Lorentz’s The Plow That Broke The Plains (1936).
Observational
Film team at Port of Dar es Salaam with two ferries
Observational documentaries attempt to spontaneously observe their subjects with minimal intervention. Filmmakers who worked in this subgenre often saw the poetic mode as too abstract and the expository mode as too didactic. The first observational docs date back to the 1960s; the technological developments which made them possible include mobile lightweight cameras and portable sound recording equipment for synchronized sound. Often, this mode of film eschewed voice-over commentary, post-synchronized dialogue and music, or re-enactments. The films aimed for immediacy, intimacy, and revelation of individual human character in ordinary life situations.
Types
Participatory documentaries believe that it is impossible for the act of filmmaking to not influence or alter the events being filmed. What these films do is emulate the approach of the anthropologist: participant-observation. Not only is the filmmaker part of the film, we also get a sense of how situations in the film are affected or altered by their presence. Nichols: “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 encounter between filmmaker and subject becomes a critical element of the film. Rouch and Morin named the approach cinéma vérité, translating Dziga Vertov’s kinopravda into French; the “truth” refers to the truth of the encounter rat