How far are documentaries more challenging to the spectator because they appear to represent
real life characters and situations?
‘The best documentaries are those which are aware of the need to engage spectators
cinematically.’ How far do you agree with this statement?
How far is the spectator challenged by issues of manipulation in documentary film? Refer to the films you have studied for this topic.
What are some of the pleasures that viewing a documentary film offers the spectator? Refer to the films you have studied for this topic.
Grierson defined documentary as the ‘creative treatment of actuality’. What are some of the key issues raised by this definition for spectators of documentary?
‘A common experience for the spectator when watching a documentary is to be manipulated by the filmmakers.’ How far do you agree with this statement?
‘Relatively few documentaries are seen on cinema screens; most are seen on small screens in private rather than public spaces.’ How far do viewing contexts influence the spectator’s response to documentary film?
To what extent can it be said that spectators approach documentary films with greater critical awareness than when they watch fiction films?
With reference to the films you have studied for this topic, how far can it be said that different kinds of documentaries offer different kinds of spectator experiences?
‘Documentaries should never be trusted.’ How important to the spectator is the sense that they should trust the documentary filmmaker? Refer to the films you have studied for this topic.
Wednesday, 14 May 2014
Tuesday, 13 May 2014
Saturday, 5 October 2013
Modes of Documentary: The Poetic Mode
Background:
The poetic mode of documentary first appeared in the 1920's as a reaction to conventional cinema movements. It incorporates many of the ideals and techniques shown in Russian montage cinema. It uses these techniques to move away from traditional continuity editing and instead creates meaning for an audience by linking together patterns of images, creating associations for an audience. Instead of having well rounded characters the poetic mode chooses to distance itself from its subjects, as seen in Night Mail (below). The postal workers in this film are not given names or introduced to us, we merely look upon them as they work, we do not share any emotive scenes with them instead emotion in the film is created by the poetry that matches speed with the train and personifies it.
Key Features:
The poetic mode of documentary first appeared in the 1920's as a reaction to conventional cinema movements. It incorporates many of the ideals and techniques shown in Russian montage cinema. It uses these techniques to move away from traditional continuity editing and instead creates meaning for an audience by linking together patterns of images, creating associations for an audience. Instead of having well rounded characters the poetic mode chooses to distance itself from its subjects, as seen in Night Mail (below). The postal workers in this film are not given names or introduced to us, we merely look upon them as they work, we do not share any emotive scenes with them instead emotion in the film is created by the poetry that matches speed with the train and personifies it.
The mode focuses on Codes
which emphasize visual associations, tonal or rhythmic qualities, descriptive
passages and formal organisation. It also favours mood, tone and texture.
Key Features:
- Montage
- Striking imagery
- Focuses on mood rather than story
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