Theories pertinent to documentary
- John Grierson - documentary: the creative treatment of actuality
- DA Pennebaker - Direct cinema and documentary truth. Eg handheld cinematography, long takes
- Christian Metz - the indexical bond. By filming something we make it real
- Jean Baudrillard - hyperreality. We are constantly bombarded with images that seem more real than the thing that’s being represented. The idea that representations are more real than reality
Question: The documentary theorists Grierson and Pennebaker continue to dominate discourse and discussion surrounding contemporary documentary films. Discuss this claim in relation to the examples from the documentary films we have studied
Knee jerk reaction
G and P are absolutely essential in understanding the complex and rich nature of Stories we Tell
Plan
MES
Super-8
Direct cinema
Handheld
Rough
Modes of documentary
Performative
Reflexive
Poetic
Recreation of settings
Hyperreality
Fly scene
Emotional manipulation
Soundtrack
Talking heads
Biased
Postmodern: a film about a film
Unlikeable protagonist
Canadian
Verisimilitude: like the truth
Quixotic
Introduction - DAC
A documentary is a genre of film with a contested definition. For Grierson, it is the creative treatment of actuality, where film form and micro elements can be used to construct a sense of verisimilitude. A somewhat opposing view comes from D.A Pennebaker , who believed that documentaries should be direct, unvarnished and real. G and P are absolutely essential in understanding the complex and rich nature of Stories we Tell. SWT is a documentary film regarding the documentary maker Sarah Polley, her film making family, and the complex and dramatic lives that they have led.
Paragraphs: PEA
What points could we make here?
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One way in which Polley uses the creative treatment of actuality is through the highly stylised staged reconstructions throughout her film…
Yet Polley also uses Pennebakian notions of direct cinema throughout her film. A perfect example of this can be found in the extensive use of talking head footage…
In fact, many scenes combine the utilisation of creative and direct cinema. A perfect example of this can be found in the final montage of the film, where Michael philosophically discusses life, love, and his obsession with flies.
The MES of Michael is as chaotic and confusing as the film. His slouched performance, unbrushed hair and missing teeth present a complex and yet reliable character. Michael is often seen smoking and surrounded with alcohol. This unpolished representation constructs a reality where Michael is sad, fragile, but also real. This sense of verisimilitude is anchored and grounded through the Pennebakian utilisation of naturalistic, shaky and handled cinematography. Michael is often shot in ECU, aligning the spectator uncomfortably close to Michael. Additionally, Polley chooses to shoot Michael in grainy Super 8 footage, once more constructing a complex and confusing sense of verisimilitude. Here, Super 8 is a symbolic code, and suggests nostalgia and reminiscence. Yet here, confusingly, Polley chooses to use vintage technology to shoot contemporary footage. Here, a highly confusing mode of address is constructed, forcing the spectator to interpret this message. The footage is immediately nostalgic, and suggests that all moments will eventually be memories. Here, Nichol’s mode of poetic documentary filmmaking helps us understand the scene. Rather than meaning something clear and deep, a poetic and existentialist mode of address is constructed for the spectator.