Carmen Russell
Synopsis
Chapter 1
In this chapter, Beattie addresses the numerous components that make documentary filmmaking what it is. In relation to the construction of these components are modes, style, authenticity, narrative, and most importantly truth. Beattie leads us to ask “Is all non -fiction an accurately, true depiction of factual and truthful information about the socio-historic world it is portraying? Furthermore, “Is the documentary presenting “actual” truth or asserting that the subjects within the documentary are real people?” Two examples of this that come to mind are a documentary on The Titanic (presented with factual socio-historical representation) versus the Real Housewives of Orange County (subjects within the documentary are real but the narrative may not be entirely truthful). Beattie explains the difference between a truth claim and representing truth as he asserts that both of these terms do not mean the same thing. Beattie explains truth claim as being an interpretation of reality based on an ethical contract between the viewer and producer. The viewer believes the accuracy of the film’s truth based on evidence the producer provides as well as textual cues such as “The Untold Story of…”. Beattie expresses the complex relationship between representation, truth, and reality as documentary films are expected by viewers to truthfully depict real people and events without any form of fabrication. The structure of a documentary is frequently built around an argument and the fair representation of the facts surrounding that argument. Beattie cites Charles Pierce, a man who coined the term indexical bond which defines how the camera photographs an image that the viewer believes to be an accurate representation of the object the camera captured. Charles further illustrates how this object is then forced to correspond to precise measures with nature which marries the bond between the image and the real world (Beattie, 2004). Documentary filmmaking is what draws upon this real-world narrative. In this chapter Beattie also explores the concept of realism versus fictional realism by defining two types of realism: Observational Realism and Expositional Realism. He examines how fictional realism creates an imaginative relationship between the viewer and the story where there are no “real” known facts, but the viewer agrees to step into the filmmaker’s created world and rules within this imaginative world. Realism, however, affirms that the world and narrative is true. Beattie expounds on ways to affirm these truths by examining the approach documentaries take in telling their story. Beattie shows how documentaries offer pieces of evidence and truth that the viewer has to put together to affirm their own conclusion, do their own research, or construct their own truth. Although there are various styles and modes of documentary, generally all documentaries present facts that the viewer in turn must process and ultimately decide what truth they want to believe. This chapter shows that no matter how realistic and organic documentaries try to be, there is still a presence of ‘alteration’. The camera itself is a foreign object as well as lighting and sound equipment which can all manipulate the narrative in some form or even the subjects who are aware of their presence (ex: subjects modifying their behavior, being conscientious of the presence of a camera, or the sound in a film setting a tone or mood that alters the way the audience receives the message). Even raw footage is “unintentionally” manipulated when it’s transferred to post production and goes through edits. Overall, documentary filmmaking is a beautiful, unconventional mess as I believe it can present both factual and realistic truths but not in a purely organic form, due to the means by which the filmmaker and subjects must adhere to in order to capture these “real life” moments. I would say Beattie agrees as he shares how documentary filmmaking is an innovative experimentation and not a formulaic or “aesthetic straightjacket” (Beattie, 2004). Lastly, Beattie uses this chapter to analyze the five modes of documentary: 1. Expository-wherein the narrator gives background to the story or explains any complexities within the story, and the images are used to support the narrative. 2. Observational- where there is typically no voice over and the viewer relies on images, music, and sound to tell the story. This mode is where cinéma vérité gets its roots as the filmmaker/camera seek to depict a truthful story without intruding. 3.Interactive- stresses dialog and interviewee sources. 4. Reflexive- the filmmaker provokes action and results within the narrative on their quest to expose and resolve problem. 5. Performative- mostly used in more contemporary works where the text is what is used to express poetic and stylistic forms. Many of these modes can overlap which leads to another term Beattie examines which is the Hybrid mode. Observational entertainment falls under this term. Examples of this would be reality television and game shows which take a voyeuristic approach in filming its subjects, spying on them at times, using music to enhance moods, and causing subjects to be self-conscious of their own behavior. Beattie also examines the Reconstructive mode: a dramatic restaging of historical and contemporary events to push forward story, to illustrate what role this style plays in documentaries. This chapter summarized a variety of styles and forms that can be meshed to create a story. I believe the most important component to remember is that truth is the infrastructure-the foundation upon which all these modes and styles are built on. A documentary is not a documentary without factual truth whether the filmmaker choose to use claim of truth and/or representation of truth, but it is the filmmakers moral and legal obligation to inform the viewer (via visual and textual cues) that their documentary is based on truth.
Sources Cited:
Beattie, Keith. Documentary Screens: Nonfiction Film and Television.
Houndmills, Basingstoke, Hampshire, New York, N.Y.: Palgrave
Macmillan, 2004.
