Expository- 'Voice-of-god' narration directly addressing the viewer. The voice-over anchors the meaning of the images being shown, which are used to illustrate what the narrator is saying and can appear to make the voice-over seen more objective nd honest. They are usually centred arund a problem that needs solving.
Observational ('fly-on-the-wall')
The style began with the 'direct cinema' techniques, where by a lightweight camera equipment allowed crews to film right where the action was taking place creating dramatic excitement.
Observational narrative avoids voice-over or commntary and the camera is as unobtrusive as possible.
Techniques used:
Indirect address to the audience
Diegetic sound (including music)
Relatively long takes, demonstrating nothing has been edited out.
Observational documentaries tend to focus on specific individuals, often durin a crisis or drama.
Events often unfolded infront of the camera and the film-makers have no knowledge of the outcome.
The style dominates television documentaries.
Docucoaps
Docusoaps are a hugely popular hybrid; a long-running documentary series that follows a group of characters chosen for their quirkiness and entertainment value. Their prioritisation of entertainment over social commentary, sets them apart from their predecessors.
They were made possible by lightweight camea equipment.
They have an episodic, soap-like structure, with several interweaving plot lines, involving different characters, which tend to be given about three minutes of air time before moving on to the next. There is a relationship btween characters, film makers and the audience that was new in the history of documentary.
Reality TV
-characterised by a high degree of hybridisation between different programme types.
-factual programming increased between 1989 and 1999, mainly at the expense of sitcoms, game shows and quizzes.
Reality TV is characterised by:
Camcorder, surveillance or observational camera work
First person or eye-witness testimony
Studio or to-camera links and commentary from presenters.
Interactive
The style acknowledges the presence of the camera and crew. It allows the film-maker to speak directly to her/his subjects in the form on an interview mainly, meaning that the focus is on the exchange of information rather than the creation of an objective view.
Drama-documentary
-reconstruction and re-enactments are as old as documentary itself. Drama documentaries arouse much debate because unless based on transcripts, they are even more open to bias and interpretation than other forms of documentaries.
'docudrama'-fictional story that uses techniques of documentary to reinforce its claim for realism.
'dramadoc'-documentary reconstruction of actual events using techniques taken from fiction cinema.
The purpose and effect of the techniques used is more important than the labelling.
Current Affairs
-journalist-led programmes whose aim is to address the news and the political agenda in greater depth than the news bulletins allow. Programmes are organised around a journalist report.
Documentary Dilemmas
-Documentary footage is rarely broadcaste unedited.
-The relationship between programme makers and their subjects varies: they can be reporting on their subjects, investigating them, or observing them.
-Editing is another area of difficulty because any documentary can only be a representation of a particular subject.
Factual accuracy is vital for current affairs documentaries: responsibility to the audienceoutweights responsibility to the subjects of the programme.
Observational ('fly-on-the-wall')
The style began with the 'direct cinema' techniques, where by a lightweight camera equipment allowed crews to film right where the action was taking place creating dramatic excitement.
Observational narrative avoids voice-over or commntary and the camera is as unobtrusive as possible.
Techniques used:
Indirect address to the audience
Diegetic sound (including music)
Relatively long takes, demonstrating nothing has been edited out.
Observational documentaries tend to focus on specific individuals, often durin a crisis or drama.
Events often unfolded infront of the camera and the film-makers have no knowledge of the outcome.
The style dominates television documentaries.
Docucoaps
Docusoaps are a hugely popular hybrid; a long-running documentary series that follows a group of characters chosen for their quirkiness and entertainment value. Their prioritisation of entertainment over social commentary, sets them apart from their predecessors.
They were made possible by lightweight camea equipment.
They have an episodic, soap-like structure, with several interweaving plot lines, involving different characters, which tend to be given about three minutes of air time before moving on to the next. There is a relationship btween characters, film makers and the audience that was new in the history of documentary.
Reality TV
-characterised by a high degree of hybridisation between different programme types.
-factual programming increased between 1989 and 1999, mainly at the expense of sitcoms, game shows and quizzes.
Reality TV is characterised by:
Camcorder, surveillance or observational camera work
First person or eye-witness testimony
Studio or to-camera links and commentary from presenters.
Interactive
The style acknowledges the presence of the camera and crew. It allows the film-maker to speak directly to her/his subjects in the form on an interview mainly, meaning that the focus is on the exchange of information rather than the creation of an objective view.
Drama-documentary
-reconstruction and re-enactments are as old as documentary itself. Drama documentaries arouse much debate because unless based on transcripts, they are even more open to bias and interpretation than other forms of documentaries.
'docudrama'-fictional story that uses techniques of documentary to reinforce its claim for realism.
'dramadoc'-documentary reconstruction of actual events using techniques taken from fiction cinema.
The purpose and effect of the techniques used is more important than the labelling.
Current Affairs
-journalist-led programmes whose aim is to address the news and the political agenda in greater depth than the news bulletins allow. Programmes are organised around a journalist report.
Documentary Dilemmas
-Documentary footage is rarely broadcaste unedited.
-The relationship between programme makers and their subjects varies: they can be reporting on their subjects, investigating them, or observing them.
-Editing is another area of difficulty because any documentary can only be a representation of a particular subject.
Factual accuracy is vital for current affairs documentaries: responsibility to the audienceoutweights responsibility to the subjects of the programme.
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