Issues behind Factual Based Programmes.
Definition: A Documentary is a recording of an event, generally based on people’s perspectives and/or genuine facts.
With this definition in mind, a factual based programme must achieve certain standards to be accepted by audiences. Factual based programmes have a range of issues to cover before they can be legitimately called a factual based programme. They have to ensure they are accurate first and foremost as any incorrect information will only contradict the main purpose of the programme. Other issues include balance, subjectivity/objectivity, representation, bias, impartiality, opinion, access, privacy and contract with the viewer. Using three examples will illustrate why these can vary however, based on the subject matter of the factual based programme.
With this definition in mind, a factual based programme must achieve certain standards to be accepted by audiences. Factual based programmes have a range of issues to cover before they can be legitimately called a factual based programme. They have to ensure they are accurate first and foremost as any incorrect information will only contradict the main purpose of the programme. Other issues include balance, subjectivity/objectivity, representation, bias, impartiality, opinion, access, privacy and contract with the viewer. Using three examples will illustrate why these can vary however, based on the subject matter of the factual based programme.
Codes and Conventions.
Factual based programmes follow a set of codes and conventions to align with expectations, much in a similar fashion to how genres of films follows similar codes and conventions to earn their classification as a film.
Actuality footage – This footage must be of an actual event and feature real people over actors. Some documentaries may employ actors, but that is only for when recreations of actual events are being portrayed.
Voiceover – Unseen to the audience, a voiceover will explain or tell a story during a documentary. This is to encourage viewers to believe in what they are watching. David Attenbourogh has voiced many nature based documentaries, as a result viewers hearing his voice during such a documentary will instinctively believe whatever he is saying throughout the programme.
Narrativisation – To communicate (experiences or events) in a narrative form, in order to better understand them. A documentary in a narrative style is much easier for audiences to follow and understand as facts and information are being presented in a linear fashion.
Interview – Through factual programmes interviews give people the opportunity to speak directly on an issue or an event. In a documentary it gives the viewer a sense of realism as these people tend to not fight broadcast stereotypes allowing audiences to relate to them easier.
Text – Text presents further information for viewers. This can contain simple information such as dates and times, but in some cases can be a small passage of information for the viewer to read and digest to aid in their understanding of the documentary.
Sound – Sound can be used to create certain effects for the audiences to gage further the intended message behind the documentary. In “Supersize Me” child-like music would play to degrade and undermine McDonalds as a business.
Dramatization – When a reconstruction is created using actors, this is done to give viewers further insight to a real event that has occurred. This can be seen in factual based shows such as the old British show “999” which told true stories of people surviving horrific accidents. The show would use actors to retell the true events documented by the victims, witnesses and rescue services.
Realism – Documentaries can achieve this through archive footage, interviews, location shooting and following the “action” depending on the subject of the factual programme.
A documentary can give audiences two signifiers to further imply the footage is real and live. The first is through uneven and wobbly camera work. The second is through unintended sound. When footage is planned there will be an assurance of having perfect camera work and sound to achieve the desired shots. Where a factual based programme is aiming to report events as they happen, planning and reshoots are not really an option to achieve perfect camera and sound.
Factual based programmes follow a set of codes and conventions to align with expectations, much in a similar fashion to how genres of films follows similar codes and conventions to earn their classification as a film.
Actuality footage – This footage must be of an actual event and feature real people over actors. Some documentaries may employ actors, but that is only for when recreations of actual events are being portrayed.
Voiceover – Unseen to the audience, a voiceover will explain or tell a story during a documentary. This is to encourage viewers to believe in what they are watching. David Attenbourogh has voiced many nature based documentaries, as a result viewers hearing his voice during such a documentary will instinctively believe whatever he is saying throughout the programme.
Narrativisation – To communicate (experiences or events) in a narrative form, in order to better understand them. A documentary in a narrative style is much easier for audiences to follow and understand as facts and information are being presented in a linear fashion.
Interview – Through factual programmes interviews give people the opportunity to speak directly on an issue or an event. In a documentary it gives the viewer a sense of realism as these people tend to not fight broadcast stereotypes allowing audiences to relate to them easier.
Text – Text presents further information for viewers. This can contain simple information such as dates and times, but in some cases can be a small passage of information for the viewer to read and digest to aid in their understanding of the documentary.
Sound – Sound can be used to create certain effects for the audiences to gage further the intended message behind the documentary. In “Supersize Me” child-like music would play to degrade and undermine McDonalds as a business.
Dramatization – When a reconstruction is created using actors, this is done to give viewers further insight to a real event that has occurred. This can be seen in factual based shows such as the old British show “999” which told true stories of people surviving horrific accidents. The show would use actors to retell the true events documented by the victims, witnesses and rescue services.
Realism – Documentaries can achieve this through archive footage, interviews, location shooting and following the “action” depending on the subject of the factual programme.
A documentary can give audiences two signifiers to further imply the footage is real and live. The first is through uneven and wobbly camera work. The second is through unintended sound. When footage is planned there will be an assurance of having perfect camera work and sound to achieve the desired shots. Where a factual based programme is aiming to report events as they happen, planning and reshoots are not really an option to achieve perfect camera and sound.
6 Modes of Documentary (Bill Nichol)
Documentary mode is a conceptual scheme developed by American documentary theorist Bill Nichols that seeks to distinguish particular traits and conventions of various documentary film styles. Nichols identifies six different documentary 'modes' in his schema: poetic, expository, observational, participatory, reflexive, and performative. As Nichols points out, "the characteristics of a given mode function as a dominant in a given film…but they do not dictate or determine every aspect of its organization." (Nichols 2001)
Expository – Doesn’t follow the conventions of most documentaries. Uses voiceovers and addresses the audience directly. May also gather a variety of material to support arguments.
Observational – Using a single camera, it observes the world. Location shooting, no interviews are used and rarely uses a voiceover.
Participatory – The documentary maker is visible within the documentary, the normally also participate as the voiceover.
Reflexive – Based on real life moments and objects, these types of documentaries are based more on suggestions and opinions rather than facts.
Performative – Based on emotion, the documentary maker/crew interact with the subject.
Poetic – Subjective representation of reality.
Documentary mode is a conceptual scheme developed by American documentary theorist Bill Nichols that seeks to distinguish particular traits and conventions of various documentary film styles. Nichols identifies six different documentary 'modes' in his schema: poetic, expository, observational, participatory, reflexive, and performative. As Nichols points out, "the characteristics of a given mode function as a dominant in a given film…but they do not dictate or determine every aspect of its organization." (Nichols 2001)
Expository – Doesn’t follow the conventions of most documentaries. Uses voiceovers and addresses the audience directly. May also gather a variety of material to support arguments.
Observational – Using a single camera, it observes the world. Location shooting, no interviews are used and rarely uses a voiceover.
Participatory – The documentary maker is visible within the documentary, the normally also participate as the voiceover.
Reflexive – Based on real life moments and objects, these types of documentaries are based more on suggestions and opinions rather than facts.
Performative – Based on emotion, the documentary maker/crew interact with the subject.
Poetic – Subjective representation of reality.
Bibliography
Codes and Conventions - http://www.slideshare.net/954869/codes-conventions-10458033
Interactive Documentary - http://www.interactivedocumentary.net/wp-content/2009/07/sg_panel-yr3_2009_ch1.pdf
Issues relating to factual programming for television - http://factualprogrammingfortelevisionhenna.blogspot.co.uk/2013/01/issues-relating-to-factual-programming.html
Nichols, B (2001). Introduction to Documentary. Bloomington & Indianapolis, Indiana: Indiana University Press.
The Free Dictionary - http://www.thefreedictionary.com/news+program
When Is a Documentary?: Documentary as a Mode of Reception - http://www.columbia.edu/itc/film/gaines/documentary_tradition/Eitzen.pdf
Codes and Conventions - http://www.slideshare.net/954869/codes-conventions-10458033
Interactive Documentary - http://www.interactivedocumentary.net/wp-content/2009/07/sg_panel-yr3_2009_ch1.pdf
Issues relating to factual programming for television - http://factualprogrammingfortelevisionhenna.blogspot.co.uk/2013/01/issues-relating-to-factual-programming.html
Nichols, B (2001). Introduction to Documentary. Bloomington & Indianapolis, Indiana: Indiana University Press.
The Free Dictionary - http://www.thefreedictionary.com/news+program
When Is a Documentary?: Documentary as a Mode of Reception - http://www.columbia.edu/itc/film/gaines/documentary_tradition/Eitzen.pdf