Bill Nichols outlines how we can analyse documentaries to determine how they differ from other kinds of films. He refers to different angles of analysis, including institutions, practitioners, texts (films and videos), and audience (22). Choose two of these and deploy them in an analysis of The Gleaners and I.
Stephen Crofts proposes nine factors that form part of analyses of national cinemas (386-389). Choose two of these and use them to analyse the relationship between Lucky Miles (Michael James Rowland, 2007) and an Australian national cinema.
someTitle Chapter 2 How Do Documentaries Differ from Other Types of Film? WORKING OUT A DEFINIT ION “Documentary” can be no more easily defined than “love” or “culture.” Its meaning cannot be reduced to a dictionary definition in the way that “tem- perature” or “table salt” can be. Its definition is not self-contained in the way that the definition of “table salt” is contained by saying that it is a chemical compound made up of one atom of sodium and one of chlorine (NaCl).The definition of “documentary” is always relational or comparative. Just as love takes on meaning in contrast to indifference or hate, and culture takes on meaning in contrast to barbarism or chaos, documentary takes on mean- ing in contrast to fiction film or experimental and avant-garde film. Were documentary a reproduction of reality, these problems would be far less acute. We would then simply have a replica or copy of something that already existed. But documentary is not a reproduction of reality, it is a representation of the world we already occupy. It stands for a particular view of the world, one we may never have encountered before even if the aspects of the world that is represented are familiar to us. We judge a re- production by its fidelity to the original—its capacity to look like, act like, and serve the same purposes as the original. We judge a representation more by the nature of the pleasure it offers, the value of the insight or knowl- 20 Nichols, Intro to Documentary 8/9/01 10:18 AM Page 20 Nichols, Bill. Introduction to Documentary, Indiana University Press, 2001. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/monash/detail.action?docID=129783. Created from monash on 2020-05-03 20:09:36. C op yr ig ht © 2 00 1. In di an a U ni ve rs ity P re ss . A ll rig ht s re se rv ed . edge it provides, and the quality of the orientation or disposition, tone or perspective it instills. We ask more of a representation than we do of a re- production. This was quickly realized in photography.Henry Peach Robinson’s 1896 guide to good photography, The Elements of a Pictorial Photograph, warned beginners that “Imitative illusion is a trap for the vulgar. A scene may, and should be represented truthfully, but some artists can see and represent more and greater truths than every passer-by will notice. . . . The photog- rapher who sees most will represent more truths more truthfully than an- other.” (Robinson himself was a highly regarded photographer who some- times combined more than one negative to produce the desired effect in his finished prints.) Documentary is what we might call a “fuzzy concept.” Not all films that count as documentaries bear a close resemblance to each other just, as many disparate sorts of transportation devices can count as a “vehicle.” As the formulations we looked at in Chapter 1 already suggest, a documen- tary organized as It speaks about them to us will have quite different qual- ities and affect from one organized as We speak about us to them. But these differences are just the beginning. As we will see, there are a number of other ways in which documentaries differ from each other, even though we continue to think of the whole array of films as documentary despite the differences. Documentaries adopt no fixed inventory of techniques, address no one set of issues, display no single set of forms or styles. Not all documentaries exhibit a single set of shared characteristics. Documentary film practice is an arena in which things change. Alternative approaches are constantly at- tempted and then adopted by others or abandoned. Contestation occurs. Prototypical works stand out that others emulate without ever being able to copy or imitate entirely. Test cases appear that challenge the conventions defining the boundaries of documentary film practice. They push the limits and sometimes change them. More than proclaiming a definition that fixes once and for all what is and is not a documentary, we need to look to examples and prototypes, test cases and innovations as evidence of the broad arena within which docu- mentary operates and evolves.The fuzziness of any definition arises partly because definitions change over time and partly because at any given mo- ment no one definition covers all films that we might consider documentary. The usefulness of prototypes as a definition is that they propose generally exemplary qualities or features without requiring every documentary to ex- hibit all of them. Nanook of the North stands as a prototypical documen- tary even though many films that share its reliance on a simple quest nar- How Do Documentaries Differ from Other Types of Film? | 21 Nichols, Intro to Documentary 8/9/01 10:18 AM Page 21 Nichols, Bill. Introduction to Documentary, Indiana University Press, 2001. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/monash/detail.action?docID=129783. Created from monash on 2020-05-03 20:09:36. C op yr ig ht © 2 00 1. In di an a U ni ve rs ity P re ss . A ll rig ht s re se rv ed . rative to organize events, its exemplary or representative individual, and its implication that we can understand larger cultural qualities by understand- ing individual behavior also reject the romanticism, emphasis on a chal- lenging natural environment, and occasionally patronizing elements of Nanook. Indeed, some fiction films, like Vittorio De Sica’s Bicycle Thief (1947), can also share these qualities with Nanook without being consid- ered a documentary at all. New prototypes such as Night Mail or the Why We Fight (1942–45) se- ries may reject previously dominant qualities in films such as Nanook in fa- vor of new ones such as a voice-over commentary or a deflection away from an individual social actor to representative types or groups and the unfold- ing of an event, process, or historical development in broader, more im- personal terms (poetically or prosaically rendered). Similarly, if we regard High School as a prototype or model of observational cinema we can note how it refused to provide any voice-over commentary whatsoever even though voice-over commentary had been considered one of the most char- acteristic qualities of documentary up until the 1960s. We can get more of a handle on how to define documentary by ap- proaching it from four different angles: institutions, practitioners, texts (films and videos), and audience. AN INSTITUTIONAL FRAMEWORK It may seem circular, but one way to define documentary is to say, “Docu- mentaries are what the organizations and institutions that produce them make.” If John Grierson calls Night Mail a documentary or if the Discovery Channel calls a program a documentary, then these items come labeled as documentary before any work on the part of the viewer or critic begins.This is similar to saying that the Hollywood feature film is what the Hollywood studio system produces. This definition, despite its circularity, functions as an initial cue that a given work can be considered as a documentary. The context provides the cue; we would be foolish to ignore it even if this form of definition is less than exhaustive. Given that the sponsor is the National Film Board of Canada, Fox TV news, the History Channel, or Michael Moore, we make certain assumptions about the film’s documentary status and its degree of likely objectivity, reliability, and credibility. We make assumptions about its non-fiction status and its reference to our shared historical world rather than a world imagined by the filmmaker. The segments that make up the CBS news program 60 Minutes, for ex- ample, are normally considered examples of journalistic reporting first and foremost simply because that is the kind of program 60 Minutes is. We as- 22 | INTRODUCTION TO DOCUMENTARY Nichols, Intro to Documentary 8/9/01 10:18 AM Page 22 Nichols, Bill. Introduction to Documentary, Indiana University Press, 2001. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/monash/detail.action?docID=129783. Created from monash on 2020-05-03 20:09:36. C op yr ig ht © 2 00 1. In di an a U ni ve rs ity P re ss . A ll rig ht s re se rv ed . sume that the segments refer to actual people and events, that standards of journalistic objectivity will be met, that we can rely on each story to be both entertaining and informative, and that any claims made will be backed up by a credible display of evidence. Shown in another setting, these episodes might seem more like melodramas or docudramas, based on the emotional intensities achieved and the high degree of constructedness to the encounters that take place, but these alternatives dim when the entire institutional framework functions to assure us that they are, in fact, docu- mentary reportage. Similarly, films that get shown on Public Broadcasting System (PBS) series such as POV and Frontline are considered documentaries because these series routinely feature documentaries.Shows that appear on the Dis- covery Channel are, unless proven otherwise, treated as documentaries because this channel is dedicated to broadcasting documentary material. Knowing where a given film or video comes from, or on what channel it is shown, provides an important first cue to how we should classify it. Films like This Is Spinal Tap (Rob Reiner, 1982) build this type of insti- tutional framing into the film itself in a mischievous or ironic way: the film announces itself to be a documentary, only to prove to be a fabrication or simulation of a documentary. If we take its own self-description seriously, we will believe that the group Spinal Tap is an actual rock group. Since one had to be created for the film, just as a “Blair witch” had to be created for The Blair Witch Project, we will not be wrong. What we may fail to realize is that neither the rock group nor the witch had any existence whatsoever prior to the production of these films. Such works have come to be called “mockumentaries” or “pseudo-documentaries.” Much of their ironic impact depends on their ability to coax at least partial belief from us that what we see is a documentary because that is what we are told we see. An institutional framework also imposes an institutional way of seeing and speaking, which functions as a set of limits, or conventions, for the film- maker and audience alike. To say “it goes without saying” that a documen- tary will have a voice-over commentary, or “everyone knows” that a docu- mentary must present both sides of the question is to say what is usually the case within a specific institutional framework. Voice-over commentary, sometimes poetic, sometimes factual but almost omnipresent, was a strong convention within the government-sponsored