postmodern documentaries and reality tv
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Postmodernism
In Reality TV and
Documentaries
Docu
menta
ries
As a human document � �dealing with not only the hard facts but also the social and personal �aspects … the �documentary is a representational, recorded version of the everyday.�(Stuart Hall, Representation: Cultural Representations and Signifying Practices)
Docu
menta
ry
Modes
Nichol’s theory of Doc
umentary Modes
Docu
menta
ry
Poetic Mode – which first
appeared in the 1920’s, was a
sort of reaction against both
the early fiction film. The
poetic mode moved away from
continuity editing and instead
organized images of the
material world by means of
associations and patterns.
Well-rounded characters—’life-
like people’—were absent;
instead, people appeared in
these films as entities, just like
any other, that are found in
the material world.
Regen (Rain)Netherlands 1929
Poetic Mode
Docu
menta
ry
Observational Mode -
attempts to simply and
spontaneously observe
lived life with a minimum of intervention. Filmmakers who worked
in this sub-genre often
saw the poetic mode as
too abstract and the
expository mode as too
didactic.
Children UndergroundRomania 2001
Observational Mode
Docu
menta
ry
Expository Mode – speaks
directly to the viewer, often in
the form of an authoritative
commentary proposing a
strong argument and point of
view. The (voice-of-God)
commentary often sounds
‘objective’ and omniscient.
Images are often not
paramount; they exist to
advance the argument. The
rhetoric insistently presses
upon us to read the images in
a certain fashion.
The Shock of the NewGreat Britain 1980
Expository Mode
Docu
menta
ries
Participatory Mode - believes that it is impossible for the act of
filmmaking to not influence or alter the
events being filmed. Not
only is the filmmaker
part of the film, we also
get a sense of how situations in the film are
affected or altered by
their presence.
Bowling for ColumbineUSA 2002
ParticipatoryMode
Though some argue Moore is expository
D
ocu
menta
ries
Reflexive Mode - don’t see
themselves as a transparent window on the
world; instead they draw
attention to their own
constructedness, and the
fact that they are representations. They
prompt us to “question the
authenticity of documentary in general.” It
is the most self-conscious
of all the modes, and is
highly skeptical of ‘realism
Surname Viet Given Name Nam
USA 1989
Reflexive Mode
D
ocu
menta
ries
Performative Mode - stress
subjective experience and
emotional response to the
world. They are strongly
personal, unconventional,
perhaps poetic and/or
experimental, and might
include hypothetical
enactments of events
designed to make us
experience what it might be
like for us to possess a
certain specific perspective
on the world that is not our
own.
Paris is BurningUSA 1990
Performative Mode
Thoughts
on
Post
modern
D
oco
s
Meta-documentary - a documentary about documentary
Postmodern documentary borrows features from fiction film – Galindo
The society of spectacle – Kellner
They have become self-reflexive authored and more popular than the traditional documentary, tending toward the respresentation of a traumatic past – Randolph
Is documentary still capable of expressing truth, or a fragmented representation of that truth? – Williams
Baudrillard – Simulacra/Hyperreality
Self-reflective and self-aware
Parody and Pastiche
The Postmodern Audience
Reality TelevisionThe Good, the Bad and the
Ugly
Realit
y TV
Reality TV has morphed from radio game show and amateur talent competition to hidden camera stunt show to dating show to documentary-style series.
The genre now encompasses unscripted dramas, makeover sagas, celebrity exposés, lifestyle-change shows, dating shows, talent extravaganzas and just about any kind of competition you can think of (and a few that you probably can't). - How Stuff Works
Realit
y TV
By definition, RTV is essentially unscripted programming that doesn't employ actors and focuses on footage of real events or situations.
Unlike scripted shows like sitcoms, dramas and news, RTV does not rely on writers and actors, and much of the show is run by producers and editors. Because of this, it can be a very affordable programming option from a production standpoint.
Here Comes Honey Boo Boo
USA - 2012
Reality TV
Here
Com
es
Honey
Boo B
oo
Representation
Media Language
Genre
‘All American’ Family Show
Ideology
Reality? Simulacra?
Audience – highly interactive with this show
Appearance across other media – Kardashians, Family Feud, Twitter, FB, Toddlers and Tiaras etc etc etc
PopstarsNew Zealand - 1999
Reality TV
Popst
ars
(and o
ther
sim
ilar
show
s) Representation
Ideology
Reality? Simulacra?
Audience – highly interactive with this show
Appearance across other media – concerts, merchandise, CDs etc.
Self-aware and self-reflective
Your
Task
Research the following international Reality TV and be prepared to explain…
What it is
When it was made
Audience and critic response (if possible)
5-10 points as to why it is PoMo
Mark - Doomsday Bunkers (USA)
Daisy – Nasabi (Japan)
Shannon – I want a Famous Face (USA)
Dan - Fidelity Test (Brazil)
Cristina – Rupaul’s Drag Race (USA)
Hazel - The Virgin Show (Japan)
Aiden – Be My Baby (USA)
Jake - Criminal Russia (USSR)
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