Modes of Documentary Bidbid Reflective Documentary o Makers
Modes of Documentary Bid-bid
Reflective Documentary o Makers of Reflective documentaries consider the quality of the documentary, they consider its process and its implications on their audiences. o For example In Dziga Vertov’s Man with a Movie Camera (1929, ) He has footage of his brother and wife shooting footage and editing, respectively. The goal of shooting these images was, “to increase the audiences understanding of the process of how film is constructed. Another example is Ruby Mitchell’s. . . No Lies (1974, ) which was different to Dziga’s man with a movie camera, as it questioned the observational mode, Ruby’s no lies commented on observational techniques and their capacity for capturing authentic truths. In this way, the reflexive mode of documentary often functions as its own regulatory board, policing ethical and technical boundaries within Documentary film itself.
Reflective Mode o (Vertov, Godmilow, Raul Ruiz) o Reflective mode makes the convention representation more obvious and apparent, it also challenges the impression of reality which other three modes normally conveyed unproblematically. o Reflective mode is the most self-aware mode - its reflexivity helps audience acknowledge how other modes claim to construct "truth" through documentary practice. o It uses many of devices of other modes but sets them on edge so viewer attends to device as well as the effect.
Performance Mode o (Resnais, Julien, Riggs) 1. Performance mode is like a Reflexive Documentary, it also raises questions about knowledge 2. Performance mode emphasizes personal experience (in tradition of poetry, literature) 3. Performance mode tries to show the audience how understanding such personal knowledge can help us understand more general processes of society 4. performance mode mixes elements of different documentary modes to achieve a link between subjective knowledge/understanding of the world, and more general understandings, i. e. historical ones.
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