1. Documentary Lecture 2 Observational/Interactive and Reflexive Documentary

2. “...use of real people in undirected situations...By ‘real’ I mean not only the avoidance of professional actors (unless, of course, we see them as actors) but even to the extent that non-actors are not placed into roles selected by the filmmakers.” Stephen Mamber

3. Observational Guide Stresses Non-Intervention Relies on editing to give perception of ‘lived or real time’ Usually tries to eliminate: -- Voice-over -- External sources of music -- Intertitles -- Reenactments -- Interviews

4. Ethical Considerations Has informed consent truly been given? Has the filmmaker intruded upon people’s lives in ways that will irrevocably change them, perhaps for the worse, in order to make their film? Does the film convey a sense of respect for the lives of others or have they merely been used as signifiers in someone else’s discourse? When something happens that may injure or jeopardize one of the participants, should the filmmaker intervene? Or should they even continue filming? To what extent and in what ways shall the voice of the people be represented?

5. Interactive Documentary A much greater level of directly addressing the camera/ viewer or interviewer. Images may illustrate validity or doubtfulness of what witnesses say. The participants may be selectively chosen for what they will say. A greater use of dialogue or monologue. The subject matter may involve filmmaker/Interviewer interacting with Subject/Person to gain knowledge. Different editing techniques may be used to give individual treatment to individual subjects or persons. Use of intertitles or images to complement/contrast what the speaker is talking about.

6. Today’s Films High School, Frederick Wiseman, 1968/9 The War Room, D.A. Pennebaker and Chris Hegedus, 1993 The Thin Blue Line, Errol Morris, 1988