W4| Documentary Structure

‘By structure, we refer to the ways in which content is selected and ordered to produce meaning and experience.’ (Fox 2017, p.96)
I have studied two fiction film studio before. Normally, the structure of the fiction film builds in the process of writing the script. After that, the script will be transferred to storyboard visually. Instead of the detailed structure of fiction film, the documentary film has a significant difference, the reality cannot be scripted. (Fox 2017) As a result, the structure of the documentary is uncertain until we finish the shooting and get all the footages. The documentary asks filmmakers to have the idea of the general structure, the control on the direction of documentaries. Besides, prepare well.
  • Linear Structure: Aristotle & Hollywood
(Figure 1: the screenshot of the Hollywood three-act structure of linear mode, source by Zhen)
    • It is quite interesting to know that the linear structure of documentaries is inspired by the Aristotle principle and Hollywood film modes, such as three-acts, character-driven, and goal-oriented method. Besides, the main idea of it is that divided the story into various small plots and control the emotional rhythm of the whole story.  The benefit of this method is that it can make the structure of the story clearly, reinforce the connection between different plots(usually ‘causality’ rather than ‘chronology’), keep the audience’s attention and make the story more attractive. One of the significant principle to determine if the linear structure is successful is a clear issue in the beginning and a sufficient ending. (Fox 2017) The whole documentary is meant to solve the issue. It reminds me that I should do some research to find out the method of control the rhythm of the documentary.
  • Thematic Structure
(Figure 2: the screenshot of a thematic documentary called Cameraperson by Kirsten Johnson, source by Zhen)
    • The advantage of the thematic structure is emotional construction. It presents the process of memory and reflection rather than simply follow the chronology. (Fox 2017) In other words, it connects various sequences by mood. As a result, the visual difference could be more obvious and the logic of the documentary could be less clear than other documentary structures, such as the linear model. However, it can improve the immersion experience of the audience by sharing a strong emotion with the audience and inspire them to meditate enduringly.
    • Base on the characters of the thematic structure, we could use it to express our mood in the documentary or film a poem. The techniques of fiction films could be used in this.
  • Interactive structure
(Figure 3: the screenshot of an interactive documentary called The border Between US, source by Zhen)
    • The pursuit of the interactive documentary is to make the whole process more personalized and autonomic. It structures all the information systemically, such as frameworks, contexts, and instructions. (Fox 2017) However, there is no particular character or storyline. Besides, it doesn’t follow any inherent chronology or storyline. (Fox 2017)
    • From my perspective, the interactive documentary passes the option to its audience. The audience can choose the order and content to watch. Besides, it is also a new experiment that combines the documentary with other media platforms, such as the website.

Reference:

Fox, B 2017, ‘Content, Rhetoric, Structure’, Documentary Media: History, Theory, Practice, Routledge, ProQuest Ebook Central database.

 

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