Typologies  

Introduction 

Within this blog post, I shall discuss the types of documentaries and compare the classifications that different theorists have devised. As well as this, I shall consider the strengths and limitations of the theories and reach a well-evidenced conclusion as to which theories more accurately encompass what a documentary really is. 

What is a documentary? 

In its most basic form, a documentary is an audiovisual product that is based on or consists of official documents. However, the definition can become far more complex when you look at filmmakers’ definitions.  

The categorisations of documentaries 

For example, John Grierson (a Scottish filmmaker) defined documentary as a “creative treatment of actuality” (Sussex and Grierson 1972). This definition highlights how documentaries are a way of depicting the truth in the form of a documentary. However, this definition is not considered to be completely sound as there is debate over what constitutes as “actuality” and whether or not some documentaries could be considered an extension of the truth for dramatic effect and therefore reflect realism more than reality (Eitzen 1995).  

Alternately, documentaries can be categorised by two more traditional forms. Plantinga argues that documentary can be split into, Documentary as Indexical Record (DIR) and Documentary as Assertion Accounts (DA). Plantinga discusses how Documentaries that are defined by the DIR heavily rely on an intention-response model when communicating meanings to the audience. This illustrates how the intentions set by the filmmaker, regarding the documentary, rely on the audience being able to understand the intended meaning, therefore presumably understanding the filmmaker’s methods. DA, on the other hand, demonstrates the filmmaker representing the documentary in a certain way and using footage to match it (Plantinga 2005). This matches Currie’s conclusion on how documentaries are “filmic narratives” supported by photographic representations (Currie 1999). 

Typologies  

When looking to further define documentary, it is important to also investigate the genres and typologies of documentary. Bill Nichols devised his theory on the six subgenres of a documentary (Plantinga 2005).  His idea is that all documentaries can be categorised into six genres.  

The first of his subgenres or modes of documentary is expository, this relates to there being an ‘all-powerful’ narrator who is referred to as the voice of God and often relies on facts and logic that is spoken to the audience (Nichols 2019). An example of this can be seen in ‘Blue Planet’ with David Attenborough being considered as the all- knowing voice of God and has a wealth of knowledge (Anon, 2023).  

The second is the poetic mode; this genre considers artistic expression and often refrains from following the traditional continuity editing (Nichols 2019). Arne Sucksdorff‘s nature documentaries can be an example of the poetic mode as they push the boundaries of experimental (Jenkins, 2023). Thirdly, the observational mode describes the ‘fly on the wall’ and relies on the filmmakers’ absence which is directly contrasted by the fourth mode, the reflexive mode which heavily relies on having the filmmaker exposed and seen in the documentary. Furthermore, reflexive documentaries tend to adopt realism and therefore provide persuasive evidence (Nichols 2019). ‘Young Plato (2021)’ is an example of the observational mode as it follows the subjects without interference (Hrbacek, 2022). An example of a documentary that can be categorised by the reflexive mode is ‘Man With a Movie Camera (1929)’ as the filmmaking process is apparent throughout and becomes part of it (Burns, 2021). 

Similarly, the participatory mode portrays the idea of the filmmaker’s interaction with subjects (Nichols 2019). Chronicle of a Summer (1961) includes a conversation between the directors and therefore would be characterised as a participatory documentary (Sorkin, 2021). Finally, performative documentaries can be designed as more to do with perspective. (Nichols 2019) Tongues Untied (1989) is an example of the performative mode where the creator is the main character, and the documentary offers on social issues (Burns, 2021). 

Conclusion 

Eitzen considers it impossible to fully define documentary due to blurred boundaries and audience perception which I agree with when trying to define it (Eitzen, 1995). However, considering my research and examples, I believe Nichols’ theory on documentary typologies to be the best definition as it offers more specific characterisations and rules surrounding what constitutes as a documentary. From this it is more easily understood what can be considered as a documentary and where it fits under the umbrella term. However, such strict categorisation could mean that a number of documentaries are left not fitting completely within one type. As well as this, his theory does not encompass the definition of documentary overall but more broadly the sections within it. 

Bibliography 

ANON., 2023. What is an Expository documentary| 3 Best Examples Available from: https://newbiefilmschool.com/expository-documentary/ 

BURNS, K., 2021a. Film 101: Understanding Performative Documentary Mode Available from: https://www.masterclass.com/articles/understanding-performative-documentary-mode 

BURNS, K., 2021b. Film 101: Understanding Reflexive Documentary Mode Available from: https://www.masterclass.com/articles/understanding-reflexive-documentary-mode 

CURRIE, G., 1999. Visible Traces: Documentary and the Contents of Photographs. The Journal of Aesthetics and Art Criticism, 57(3), 285-297 

EITZEN, D., 1995. When Is a Documentary?: Documentary as a Mode of Reception. Cinema Journal, 35(1), 81-102 

HRBACEK, S., 2022. Observational Documentary Explained & 13 Top Examples Available from: https://academy.wedio.com/observational-documentary/ 

JENKINS, P., 2023. Poetic Documentary: A Masterful Blend of Art and Reality Available from: https://brilliantio.com/poetic-documentary/ 

NICHOLS, B., 2019. Introduction to Documentary, Third Edition. 

PLANTINGA, C., 2005. What a Documentary Is, After All. The Journal of aesthetics and art criticism, 63(2), 105-117 

SORKIN, A., 2021. Guide to Participatory Mode: 3 Participatory Documentaries Available from: https://www.masterclass.com/articles/guide-to-participatory-documentaries 

SUSSEX, E. and J. GRIERSON, 1972. Grierson on Documentary: The Last Interview. Film Quarterly, 26(1), 24-30