Bill Nichols' forskjellige modi kort fortalt

Nichols mener at de forskjellige modi har gradvis utviklet seg og han har laget et lite kart som jeg har kopiert og nå viser her. 

Table s. 138 i Introduction to Documentary

Documentary Modes
Chief Characteristics
            -Deficiencies

Hollywood fiction (1910s)
Fictional narratives of imaginary worlds
            -absence of reality

          
Poetic documentary (1920s)
            Reassemble fragments of the world poetically
                        -Lack of specificity, too abstract

 Expository documentary (1920s)

                        directly addresses issues in the historical world
                                    -overly didactic


Observational documentary (1960s)
eschew commentary and reenactment, observe things as they happen
          -lack of history, context


Participatory documentary (1960s)
interview or interact with subjects; use archival film or retrieve history
              -excessive faith in witnesses, naïve history, too intrusive


Reflexive documentary (1980s)
Question documentary form, defamiliarize the other modes.
            -To abstract, lose sight of actual issues


Performative documentary (1980s)
stress subjective aspects of a classically object discourse
        -loss of emphasis on objectivity may relegate such films to the avant-garde; “Excessive” use of style

”To some extent, each mode of documentary representation arises in part through a growing sense of dissatisfaction among filmmakers with a previous mode. In this sense the modes do convey some sense of documentary history.” (s. 100)