In
previous journal, we discussed about several modes of representations with
briefing and film as example – March of
the Penguins. For today’s paper, I would like to continue explaining other
three modes along with another documentary, which is The Blair Witch Project.
:::DOCUMENTARIES:::
Based on what
audiences think of documentary films (assumptions),
filmed events are not staged. This is because mise-en-scene are particularly
put together like fiction films. Therefore the filmed events provide an
authentic look. Documentaries are also assumed as non-fiction films, thus they
depict not imaginary but real events. Usually, fiction films provide imaginative
impressions while documentaries are very truthful. Also, documentaries
filmmakers are assumed to observe the events and make objective record of the
events. Recent times, the above mentioned assumptions are criticised heavily.
This is mostly influenced by the selection of techniques, equipment, footage,
angles and other technical decisions; thus it makes documentary lose its
objective appeal. To approach documents, being objective is too harsh a
standard to look at documentary. Instead, it may be better to have documentary
‘shape’ events, like fiction filmmakers manipulate filmic techniques for
narrative films.
According to what Bill Nichols said, we should
look at documentaries via the particular techniques selected by filmmakers when
they record or shape the events. We should also know about the different modes
of representation for documentaries. The six modes for representing
documentaries are: Poetic, Expository, Observational, Interactive, Reflexive
and Performative. In previous journal,
we had already learn about Poetic, Expository and Observational. We will continue
our learning of the other three modes of representation.
1. Interactive
According to Bill Nichols, he mentioned “Interactive documentary arose from the desire to make the filmmaker’s perspectives more evident. Interview styles and interventionist tactics arose, which also allowing the filmmaker to participate more actively in present events.” The filmmaker’s presence is known to the audience by ways of the filmmaker interacting with the filmed interviewees. For the films of this mode, the films allow the filmmaker’s presence to be felt by the audience via interviews, posing questions on and off screen as a mediator for interviewees and audience. His power over the documentary is clearly shown through questions posed, as well as the editing. The overall effect of this mode exposes the process by which the documentary is made, instead of hiding it like the previous modes. As for the objectivity, it is much restrained.
According to Bill Nichols, he mentioned “Interactive documentary arose from the desire to make the filmmaker’s perspectives more evident. Interview styles and interventionist tactics arose, which also allowing the filmmaker to participate more actively in present events.” The filmmaker’s presence is known to the audience by ways of the filmmaker interacting with the filmed interviewees. For the films of this mode, the films allow the filmmaker’s presence to be felt by the audience via interviews, posing questions on and off screen as a mediator for interviewees and audience. His power over the documentary is clearly shown through questions posed, as well as the editing. The overall effect of this mode exposes the process by which the documentary is made, instead of hiding it like the previous modes. As for the objectivity, it is much restrained.
2. Reflexive
“Reflexive documentaries arose from a desire to make the conventions of representations themselves more apparent and to challenge the impression of realty which the other three modes normally conveyed unproblematic,” said Bill Nichols. In this mode, the filmmaker exposes the techniques employed for representation, challenging the documentary’s means of revealing the truth. Films that use this mode are more focusing on film properties and filmmaking process, reminding and informing audience, besides the represented issue, that they are also watching a film that is attempting to represent reality. Overall effect of this mode is lack of objectivity which does not necessarily compromise the impact of documentary but instead, provide more valuable views of the issue at hand.
“Reflexive documentaries arose from a desire to make the conventions of representations themselves more apparent and to challenge the impression of realty which the other three modes normally conveyed unproblematic,” said Bill Nichols. In this mode, the filmmaker exposes the techniques employed for representation, challenging the documentary’s means of revealing the truth. Films that use this mode are more focusing on film properties and filmmaking process, reminding and informing audience, besides the represented issue, that they are also watching a film that is attempting to represent reality. Overall effect of this mode is lack of objectivity which does not necessarily compromise the impact of documentary but instead, provide more valuable views of the issue at hand.
3. Performative
Based on the words from Bill Nichols once again, he stated, “Performative documentaries during the year between 80s and 90s stress subjective aspects of a classically objective discourse. As for the possible limitations, it will be the loss of referential emphasis that may relegate such films to the avant-garde: ‘excessive’ use of style.” In performative documentaries, direct reference to the issue at hand is marginalized while poetic and expressive aspects of film are emphasized. The world is not captured like other modes traditionally do but instead represent it indirectly. Films of this mode evoke mood or atmosphere that is found in fiction films, while representing of subject matter stylistically, evocative and expressively. Overall effect of this mode is lack of objectivity, aimed at encouraging audience to experience and feel the events while making audience question the integrity and accuracy of the filmed events.
Based on the words from Bill Nichols once again, he stated, “Performative documentaries during the year between 80s and 90s stress subjective aspects of a classically objective discourse. As for the possible limitations, it will be the loss of referential emphasis that may relegate such films to the avant-garde: ‘excessive’ use of style.” In performative documentaries, direct reference to the issue at hand is marginalized while poetic and expressive aspects of film are emphasized. The world is not captured like other modes traditionally do but instead represent it indirectly. Films of this mode evoke mood or atmosphere that is found in fiction films, while representing of subject matter stylistically, evocative and expressively. Overall effect of this mode is lack of objectivity, aimed at encouraging audience to experience and feel the events while making audience question the integrity and accuracy of the filmed events.
Now I would like
to begin with defined explanations via introducing a documentary. This
documentary is not-so-alike with the previous documentary, as it is a unique
documentary with a different them of content. The title of this film is The Blair Witch Project. The Blair Witch Project is a 1999 American
found footage psychological horror film written mockumentary.
:::SYNOPSIS:::
In the beginning of
the film, film students Heather, Josh and Mike are set out to produce a
documentary about the blair witch. On the way to the Burkittsville, two
fishermen had warned them that the woods is haunted, along with the story about
a missing girl, the woman whose feet never touched the ground, and five
murdered men. Yet, they accept the challenge to reveal the truth via shooting.
In the woods, haunted matters happened from just annoyed noises at night, until
the disappearance of Josh. Lastly, Heather and Mike were dead while they are
searching the screaming sound of Josh in an abandoned house.
:::ANALYSIS:::
Based on the
storyline of the film and the elements of documentary films, there are several
modes of representation for documentaries that can be discovered in this flm.
The first mode of representation will be Observational.
In The Blair Witch Project, the
lighting of the whole footage is observed. There are also no apparent
intervention in the film. For example, there are no voiceover, interfiles and
interviews throughout the whole film.
:::CONCLUSION:::
To
be concluded, The Blair Witch Project,
as a mockumentary, depicts the storyline very well, as well as the elements of
documentaries. Overall, I love the creepiness of this film, as it is not as
same as those jumpscare movies. More defined, it frightens me in a “step-by-step”
way, in which the scariness increases as I watch the video for longer time. As
a film student, I found it special compared to other documentaries, because it
is not just only images or montage with narrations.
Comments
Post a Comment