Text: Bill Nichols - 'Introduction to Documentary'

In the first seminar we were given the opening chapter of 'Introduction to Documentary' to read, written by Bill Nichols. In this text Nichols explores the foundations and principals behind documentary films, discussing their purpose, the modes in which they are created and the interaction between subject, film-maker and audience. Below I have summarised the most important and interesting points made in the extract:

• Fiction films are really just documentaries of 'wish-fulfilment'. They offer 'worlds to explore' and make the things of our imagination concrete. Non-fiction films are documentaries of 'social representation', representing aspects of the world we 'already inhibit and share'.
• Fiction films require us to suspend our disbelief (to accept its world as plausible), whereas non-fiction documentaries aim to 'instil belief' (to accept its world as actual). This notion of belief is of additional importance in documentaries as they often intend to have an impact on the historical world and must persuade or convince us of one point of view over others.
• Documentaries draw our attention to timely social issues, current events, recurring problems and possible solutions.
• Documentaries engage with the world by representing it in three ways. 1) Offering a world that bears a 'recognisable familiarity'. 2) Stands for the interests of others (documentary film-makers often take the role of 'public representatives). 3) Put the case for a particular view to make a case, win consent or influence opinion.
• With non-fiction films, people are treated as 'social actors', continuing their life as without the presence of the camera. Similar to traditional actors, film-makers often favour those who's 'un-schooled behaviour' in front of the camera conveys complexity and depth.
• Many ethical considerations involved in making a documentary film to minimize harmful effects on those it represents - risk exploiting them.
• Difficulty for documentary film-makers is being able to inform their subjects of their intentions for the film before it has been made.
• Film can become a 'second rape' for vulnerable subjects if not careful - turning people into victims so that we can learn about their suffering and misery.
• Three-fold interaction between film-maker, subjects and audience can take many forms with different effects: 'I speak about them to you', 'I speak about them or it to us', 'We speak about us to you'. 
• Speaking in first person 'edges the documentary towards the diary, essay, and aspects of avant-garde or experimental film'. Emphasis shifts from convincing audience of a particular point of view to a representation of a personal, subjective view - perhaps from film-maker's own personal perspective.
• Rhetoric is speech used to persuade or convince. It differs from poetic or narrative speech, which aims more to provide an aesthetic experience or involvement in an imaginary world.