Participatory Documentary Techniques
After deciding to producing a participatory documentary, I researched the various techniques and styles witnessed in such a mode of documentary filmmaking. This included how the interviews are conducted and shot, to the various usage of camera angles expected of in this particularly abstract mode of documentary.
Interview Techniques Research
Transcript of Interview Techniques Video:
The participatory mode of documentary, can utlise a variety of interview style. Ironically, the most common types of styles reside on the opposite sides of the formality spectrum. However, each particular documentary film-maker chooses which type of interview style they use. Louis Theroux for example, almost always have a very informal and relaxed interview technique. The camera is handheld, and the subjects are most often walking with him or carrying out other tasks while being interviewed. It is also common for both Theroux and the subject to be on the camera at the same time. Most of the interviews consist of very few cuts, thus the camera is often shifts between the interviewer and interviewee. Michael Moore also occasionally uses this informal 'on the go' interview technique. However, Moore also utilises a very formal style of interview techniques. This formal, sit down, interview can be very informative, and not because of what the interviewee responses. The mise-en-scene and framing of the shot allows for the audience to learn more about the subject; through the location that the interview is taking place, and the articles and objects around the interviewee and in the background.
Participatory Camera Angle Analysis
A detailed comparison between the camera angles used in the participatory documentary Living With Michael, and our documentary Drama To The Max.
Towards the beginning of both documentaries, a variety of establishing shots are edited together for the audience to get a sense of where the documentary, or this particular scene in the documentary, is taking place. In Living With Michael, the establishing shots are of Michael Jackson's vast estate. In our documentary, the establishing shots depict the beginning of a school day. Both documentaries often chose to use a steady shot, having the camera on a tripod, when film establishing shots. Thus allowing for purposeful and thoughtful framing when establishing the certain location.
The audience also witness the documentary filmmaker in transit to meet a particular subject. The shots are often from a far, or obstructed my certain object or parts of scenery. This allows for moments of selective voiceover from the documentary filmmaker. For many of the interviews in Living With Michael the documentary filmmaker and the subject are on screen at the same time. This is a convention of participatory documentary that we also encompassed in our shooting style. Plus, the interviews are often inform and shot with a hand-held camera. During the scene in which Michael Jackson accepts on award on stage, there is frequent use of shots from an audience perspective/ Point of View. We adopted this same practice while shoot the subjects on stage in our own documentary. However, our filming consisted mostly of rehearsals, hence the lack of audience in the seats. In some interviews, there was an effective use of shot-reverse shots, cutting between the documentary filmmaker, and the subject. Thus cutting down on moments of severe camera movement as the camera hurriedly pans back and forth between the two characters of the scene. |