As my film tapes have still not been digitised I’ve dove deeper in my research to help me develop the direction I want to take my film, because there are just so many different paths I could go down. Furthering my research I’ve looked into Bill Nichols conceptual scheme of ‘documentary modes’ which helps to separate and identify conventions of documentary film making. The six modes include:
- Poetic: a subjective interpretation of the subjects of the film, there is no traditional narrative (or character development) as film makers tend to want to create a particular mood or tone instead.
- Expository: a form of film making that is heavily based off narration and with a collection of footage to strengthen the spoken narrative.
- Participatory: a film maker interacts with the subjects in the film rather than overtly observe them, this is explicitly shown in the collaboration between film maker and contributor.
- Observational: tend to generally simply observe, allowing viewers to reach whatever conclusions they want, some observational documentaries didn’t include music, interview, narration or scene arrangement.
- Reflexive: considers the quality of documentary itself, de-mystifying its processes and considering its implications. E.g. The Man With the Movie Camera.
- Performative: attempts to construct truths that should be self-evident to anyone, the performative mode engages the filmmaker to the story but constructs subjective truths that are significant to the filmmaker him or herself, it is well-suited to telling the stories of filmmakers from marginalised social groups, offering the chance to air unique perspectives without having to argue the validity of their experiences
Out of all these six documentary modes I feel as if my film project will fit into the poetic mode as there is no real narrative or plot within in my film. I think (well at this present moment) I want to create a personal film that really highlights important aspects of growing up, elements that made my childhood unique but also universal. At the same time I could showcase how despite all these milestones have been documented (as they are today on social media) what about the elements of life we don’t document. Why don’t we document the harder times in life when people pass, people get sick etc. This tangent leads me down a completely different part about ideas of the home movie, and in contrast its difference or really what separates it from the types of documentation we make now of our personal lives on social media or otherwise. The home movie is a really important element of my film, because essentially my film is a home movie re-invented of some sorts. However, the ideas of the poetic mode of documentary making on top of research into the home movie will hopefully make up another layer or two of my film that I can incorporate through the narration or aesthetic of the film once I receive the files.
References:
Wikipedia.(2018) Documentary modes. Retrieved from: https://en.wikipedia.org/wiki/Documentary_mode
Lift Off Festivals. (2017) Bill Nichols’ 6 Modes of Documentary. Retrieved from: https://www.lift-off-festivals.com/bill-nichols-6-modes-documentary/