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ExpositoryA very traditional form of documentary in which an unseen

speaker performs a voiceover commentary that literally explains the images that we are seeing. It is the form often

associated with wild life or historic documentaries, in which the viewer might feel in need of information about what they are seeing. The audience is not particularly ‘empowered’ by this

kind of approach, finding itself in a subordinate role listening to the version of events that the filmmakers choose to prioritise.

ObservationalThis is the mode associated with ‘fly-on-the-wall’ type

documentaries. They appear to have been filmed in ‘real time’, as if the camera has happened upon events while those

involved are seemingly unaware of the filming going on. The filmmakers correspondingly attempt not to interfere in what is underway. We do not hear their questions and we do not see them. There is no voiceover telling us what to think or what

conclusions we should draw.Interactive

Many documentaries feature a certain amount of interactive mode filmmaking. Such sequences will involve those being

filmed responding to questions asked of them. In such interviews, the questions of the filmmaker may be left in or edited out. This may be a way that individuals in a film can make their own case, but it is also a mode that can act to undermine the interviewees, making them look foolish or

deluded. Their interpretation of events or personal account may be rendered to seem trustworthy or untrustworthy depending

on the context of surrounding shots or the nature of the statements being made in their own right.

ReflectiveThis is a style that is usually associated with more experimental documentaries, ones in which the filmmakers are interested as

much in the process of making a film, of how reality can be constructed, as the actual content. At the simplest level the

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film may make no attempt to hide aspects of its construction - showing us the camera people for example.

Expository Mode- Expository mode explores documentaries which include

factual information and figures, having interviews to back up the topic.

- E.g. American’s Most Wanted- It emphasises verbal commentary- often using a narrator- Addresses the spectator directly, with titles or voices that

propose a perspective, advance an argument or recount history.

- Images become subordinate to the voice-over narration. They serve to illustrate, illuminate or act in counterpoint to what is being said by the author.

- Editing in the expository mode serves to maintain the continuity of the spoken argument or perspective-which is called evidentiary.

- It doesn’t follow the strict conventions of most documentaries.

- Uses voiceovers and addresses the audience directly, may gather q variety of material to support arguments.

Observational Mode- Observational mode tends to just observe, allowing

viewers to reach to their own conclusions of the documentary.

- E.g. Big Brother, Keeping up with the Kardashians, Geordie Shore

- Attempt to observe aspects of the historical world as they happen.

- Typically have no voice-over commentary, no supplementary music or sound, interties, no historical re-enactments, no behaviour repeated for the camera and no interviews.

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- Social actors behave as if no filmmakers were there. - This type of documentary focuses on just using one

camera, observes the world.- Location shooting, no interviews are used and rarely uses

voiceover. - Life id lived and observed, it can then be seen how

people/animals react in different situations.- The filmmaker is normally out the shot so they cannot

influence what is happening, nothing is rehearsed or staged.

- Usually wildlife documentaries

Interactive Mode

- Such sequences will involve those being filmed responding to questions asked of them.

- In such interviews, the questions of the filmmaker may be left in or edited out.

- This may be a way that individuals in a film can make their own case, but it is also a mode that can act to undermine the interviewees, making them look foolish or deluded.

- Their interpretation of events or personal account may be rendered to seem trustworthy or untrustworthy depending on the context of surrounding shots or the nature of the statements being made in their own right

Reflexive Mode- Bases on the real life moments and objects, these types of

documentaries are based more one suggestions and opinions rather than facts.

- The spectator is the focus of the attention.- Speaks not only about historical world but about problems

and issues of the representing it.- Draws our attention to our assumptions and expectations

about the documentary and the world around us. Poetic Mode

- Subjective representation of reality.

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- Stresses the lyrical, rhythmic and emotional aspect of the historical world

- Sacrifices filmic conventions for example, continuity editing and a situated time and space, to explore associations between images, objects and patterns.

- Has a topic which is personal to the people involved, usually presenter and interviewees.

- It emphasizes some aspects of the person’s life and presents these through music, camera shots and angles and the editing.

- Music is also key as it develops the mood and tone of the story being told including the message and values hidden within.

Participatory Mode- Involves an interview between filmmaker and the subject-

this allows the filmmaker to address people who appear in the film, formally- this is voice-over commentary.

- Also involves some participation from the filmmaker as well as social actors- this gives the audience a sense of what it is like for the filmmaker to be in a given situation and how that situation alters as a result.

- The documentary maker is visible within the documentary, they normally also participate as the voiceover.

- Long takes dominate, synchronous (direct) sound recording, voice-over usually by the documentary maker.

- Documentary maker is visible to the audience as he intervenes an participates in the action

Performative Mode - Based on emotion, the documentary maker/crew may

interact with the subject.- It raises questions about what knowledge is.- It sets out to demonstrate how the specificities of personal

experience provide entry into an understanding of the more general processes at work in society- this is done by

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stressing the emotional complexity of experience from the perspective of the filmmaker

- Stresses the tone and mood, more so than arguments and evidence .