Expository Documentary
Expository Documentaries are the closest relatable
to the term ‘Documentaries’. It is contrasting to the poetic documentaries in a
way that expository documentaries intend to persuade or inform. It is bereft of
ambivalent or poetic eloquence. This form consists the television and Ken Burns
style.
Experimental
Documentary:
Documentaries that donʼt easily fit any of the other categories.
Often they drawon allied art forms (painting, dance, sculpture, photography,
etc.) and can even incorporate elements of fiction.
Participatory
Documentaries
Participatory Documentaries, while having elements of
Observational and Expository, include the filmmaker within the narrative.
This could be as minor as the filmmaker’s voice being heard behind the camera,
prodding subjects with questions or cues — all the way to the filmmaker
directly influencing the major actions of the narrative.
Reflexive
Documentary
Reflexive Documentaries are familiar to
participatory documentaries in a way that they also comprise the film-maker
with the particular film. However, they make no effort to investigate an
outside subject, unlike the participatory documentaries. Their aim is mainly to
focus on themselves.
Per
formative Documentaries
Per formative Documentaries are an experimental
combination of styles used to stress subject experience and share an
emotional response to the world. They often connect personal accounts or
experience juxtaposed with larger political or historical issues. This has
sometimes been called the “Michael Moore”
style, as he often uses his own personal stories as a way to construct
social truths (without having to argue the validity of their experiences).
Their main aim is to focus on experience, images and
shows people the world from a different set of viewpoint. They are mainly loose
and abstract depicting a kind of feeling rather than the truth. It is
individualistic and experimental in form.
Happy Learning!
Anamika Gupta
IAAN
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