Cause I didn’t come to the first class of this studio because I came back to Melbourne a little bit late, so I got no group members and videos to do. From reading, I have realized that each documentary must have eight mainstream models – reflexive, poetic, explanatory, observation, participation, performance and autobiography, prose. As we will see, each model has its own practical and ideological methods to represent reality, its specific historical context of creation and the unique power dynamics between documentary practitioners, themes and audiences. For example, Eisenstein took three pictures of the stone lion and use the three pictures to reflective the importance of the populist uprising and the maritime rebellion against the tsarist control. He used another way to show people and audience what he wanted to say and in some way give people a metaphor which is a great way to show me the beauty and the effect of the documentary. Furthermore, from this reading, I had deeper thinking about what is the truth. During the processing of the documentary, as long as the camera is aimed at the subject, the subject changes his behavior because of your observations. Simply put, you think you are recording reality, but, when you lift the camera, you are already intervening in reality. In many documentaries, the subject is not facing a camera on a mobile phone. It is a film crew, up and down a dozen people. People act in front of the camera to reshow the history or their life like the documentary Nanook. Who can ensure that he is showing his true self in front of the camera? So, the truth of the documentary is an interesting thing to think about.