Documentary Formats: Viewings
Expository documentary
An example of a Expository documentary is We Are The Lambeth Boys.
Observational documentary
An example of a Expository documentary is We Are The Lambeth Boys.
- Disembodied and authoritative voice over which directly addresses the audience on what is happening in the accompanying images (giving meaning to the images – not opinion)
- Facts and arguments are provided by the voice over which also provides ‘captions’ for the images
- A series of images (which are descriptive/informative) are used to compliment the voice over
- The effect of the expository documentary is (predominantly) one of objectivity, of direct and transparent representation.
Observational documentary
An example of a Observation documentary is High School.
Interactive documentary
- Unobtrusive construction and depictions – presents a slice of life.
- Non-intervention of the filmmaker – they are an uninvolved bystander
- The filmmaker/director is hidden from the audience
No filmmaker is present throughout the documentary but only the people within the high school (students, teachers and staff).
- More centred on what is not contained, e.g., commentary, intertitles, interviews etc.
Within the documentary, no commentary and interviews are present.
- Presents a transparent record of an event and is neutral/non-judgemental
The documentary presents the transparent record of an event but not intervening into the event on screen but they don't cut it out (which also adds to the realism of the events within the scene).
- Audiences decide what to think/decode from the text.
For people viewing the documentary, based upon it's content the audience can decide on what the documentary is about.
Interactive documentary
An example of a Interactive documentary is Louis and The Nazis.
Reflexive documentary
- The filmmaker’s presence is evident – they are a participant
- There is interaction between interviewees, the presenter and also the audience
- Arguments (agendas) are usually presented
- Manipulation of the text through editing is more evident
- Sometimes criticised for ‘misrepresentation’ and ‘manipulation’ but defended by filmmakers due to the projected image being more important than fine details.
Reflexive documentary
An example of a Reflective documentary is Powaqqatsi.
Performative documentary
- The filmmaker attempts to expose the conventions of documentary to the audience
- The construction of documentary texts are exposed and also experimented with
- The documentary text will consist of shots that have captured ‘everyday life’ but they are then used as bricks which can make vastly different/experimental films.
The shots within the documentary capture the everyday life of people within an area, they also experiment with their shots but for example at the start of the documentary, shots change to sync up/go to the beat of the soundtrack within the background.
Performative documentary
An example of a Performative documentary is The Thin Blue Line.
- Represents the world indirectly and emphasis is on presentation rather than content
- Use of re-enactments, exaggerated camera positions and soundtracks help to submerge the audience into the diegesis
- Aims to present the subject matter in a subjective, expressive, stylised, evocative and visceral manner.
The documentary aims to present the subject matter, which is a shooting of a police officer and someone being presented as wrongly accused. It presents the people involved with the investigation (such as the person who is accused, lawyers and officers) and it is also stylised with their shots within the reenactments of the crime scene.

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