The reflexive documentary, one of Nichol’s six modes,
focuses on the art of documentary making and draws attention to the form. As
Nichols describes, reflexive documentaries “question the principles that
underlie the other five modes.” By drawing attention to the constructs of
documentary films, the reflexive mode is able to bring the viewer out of the
film enough to really consider the film.
The
trend towards “realism” is challenged by the reflexive mode. The most striking
example comes from our viewing of Chronicle
of a Summer. An entire film is viewed and just when you think (or possibly
hope) that it’s over, we see that the subjects of the film have just watched it
as well. They then discuss their feelings about the way they were portrayed,
the way that others were portrayed, and how accurate it appeared.
The most
interesting points that was made was that the exact same footage to one person
felt too real and invasive while to another viewer, appeared instigated and exaggerated
for the sake of the camera. The subject of said scene did say that she felt it
was more or less accurate but because we are unable to ask the subject every
time we watch a documentary, we are subject to those vastly different opinions
as well.
The
reflexive mode also draws attention to the significant social potential that
documentaries have. As made evident in our viewing of This is Not a Film, the act of recording the actual experiences in
one’s life can be so influential that governments can attempt to ban films from
being produced and revealing unflattering truths. While I still fear that the
reflexive mode can easily turn into a very self-important process, I will admit
that the influence a film (whether fiction or non-fiction) can have on its
audience is not something to be taken lightly and I applaud the reflexive mode
for bringing to light the constructed nature of all films.
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