The Observational Mode Documetary

Feature analysis of the observational mode documentary

As further improvements of the cameras and filming gears brought significant changes to documentary film technique. Filmmakers are able to shoot film and record sound at the same time at a location. Without technological limitations, the observational mode is formed, even two crews are able to shoot a film, one to operate the camera and the other to operate audio equipment. In the observational documentary, the filmmaker will shoot the real human doing real stuff, and there is no voice-over commentary and supplementary and no re-enactments. All these storytelling techniques will not appear in this mode because the filmmaker only needs to make a window on the world without interacting with the subject. By contrast, the participatory mode emphasizes the interactivity among participants. The audience will have a strong feeling of the intervention which is opposite of the observational mode.

The subject should be considered first when we choose the right mode and storytelling technique for a documentary. According to Bill Nicholas (2010) he gives us an example of observational mode documentary. Both Gimme Shelter (1970) and Don’t Look Back (1967), for example. The observational mode can be a suitable mode for a live performance or a music festival. Furthermore, animal documentaries are the typical example of observational mode. For example, Sweetgrass (2009), Raw Herring (2013) and Animal Rescue (2010). These films focus on human impacting on the animal world. The other examples are The National Geographic Channel and The Discovery Channel. These channels have a lot of observational animals and wildlife documentaries.

The subject can be watched closely and recorded according to observations and discoveries by filmmakers. As a result, the observational mode documentary has particular ethical difficulties. As Bill Nicholas (2010) said that the filmmakers can be the ‘fly on the wall’ and the witness ‘at the keyhole’. As a result, the observational documentary comes some issues with filmmakers, participants and audiences. It shows the difficulties of the comfortable position of its audience. Bill also mentioned that ‘ Masked interviewees’ technique is used in order to protect the participants. Therefore, ethical consideration such as rights, privacy, legacy and consent should always be the premise of shooting the observational documentary.

As Bill Nicholas mentioned, the feature film needs to narrow down the duration of the actual story and underscore the climax. By contrast, the observational film relies on editing to establish the sense of the real-time of the events. This is a key difference between observational mode and the other modes of documentaries. According to Aufderheide, Jaszi, & Chandra (2009), “I am in their life for a whole year. So there is a more profound relationship, not a journalistic two or three hours”(p. 7). In order to enhance the sense of the real time, it requires lots of research and discussion with the subject. The filmmakers have to take time with the participant in order to enhance a clear theme for the documentary.

Why I like the participatory mode and want to work in this way

I’d like to work in this mode because that it starts with the notion of observing the world. I like to watch what the other people doing their stuff, and I can learn from their story.

However, it could be monotonous that observational mode stresses observing the reality of the world and the non-intervention of the filmmakers. Without a voice-over, fancy production design, sound effect and music, the audience may not be attracted to watch the documentary. Unfortunately, Hollywood feature blockbuster films are way more popular than the documentary at present. Meanwhile, the number of TV show audience has grown faster. Not many people are still like watching documentaries. Therefore, I guess one hundred percent purely observational mode may not attractive enough at present. I’ve watched a documentary called ‘7 bears’ in CMWP course, which is an animal documentary using observational mode and it combines interactive elements. The audience needs to observe the film by themselves. It is not a purely observational mode, it contains a background music and an anthropomorphic voice-over of the bear. Without fancy post-production design, it will be an observational documentary. I am very interested in interactive films and I think the observational mode and interactivity can work together.

This mode is able to capture the real person and real story and edit it according to your opinion. Untimely, the film has a particular point of view because the filmmaker adds the structure and meaning of the film, this is one of the favorite parts for me to make an observational documentary. The biggest challenge of this mode is to avoid music and interview, which requires a concrete storytelling technique.

Reference:

1. Aufderheide, P., Jaszi, P., & Chandra, M. (2009). Honest truths: Documentary Filmmakers on ethicalchallenges in their work. Center for Social Media. Retrieved from http://www.centerforsocialmedia.org/making-your-media-matter/documents/best-practices/honest-truths-documentary-filmmakers-ethical-chall

2. Nichols B 2010, Introduction to Documentary, 2nd Edition, Bloomington: Indiana University Press.