Week Eleven

'How has the documentary genre influence reality TV and how it represents the 'real'? and 'What signfiers of reality have emerged from the documentary genre?'


The most influential modes on the development of reality TV are the stylistic variations of documentary - direct cinema, cinema verite and free cinema. Each style attempts to record the 'real', whether its interacting with the subject matter, use of new technology, engagement with location shooting and creative use of sound - each style tries to show what think is authentic in their representation of real.


Direct Cinema uses discrete observational filming, allowing audiences to form their own opinions by 'revelation through situation' based on the evidence of assessing facts themselves. Biressi & Nunn explain that Instead of using an organised framework of storytelling and script shooting, observational films choose to rely on editing to generate a sense of lived experience and time passing. This is shown through avoidance of commentary, extra-diegetic music in favour of long takes, indirect speech and overheard dialogue - traits that correspond with 24/7 reality TV (used in 'Big Brother')


Cinema verite took an opposite approach than observational filming choosing to interrupt film subjects, interact with them and even film their responses to rough-cuts of film footage. This technique is often associated with frenchman Jean Rouch who argues that 'their presence prompted them [subjects] to be more truthful and more authentically themselves' Biressi & Nunn (2005). However this also prompted acts of provocation for action with its use of journalistic interview, editing to reveal contradictions and argument, the conspicous presence of filmaker and or crew and also the use of commentary. (as seen in 'True Beauty')


Free Cinema however attempted to step out of the previous conventions set by is predecessors by using hand-held cameras and real locations, sometimes echoing the work of cinema verite and direct cinema. Working to break from the latter works, free cinema focussed its subject matter on pop culture, youth culture and the working class. 'The subject matter of these films .. was taking ordinary culture seriously and contravening the assumption that documentary should present a selective and ideal picture of national life' Biressi & Nunn (2005). They go on to say that free cinema placed people centre stage; preferring location shooting, unknown regional actors, some improvisation and a new emphasis on the experiences of the industrial working class. (hints seen in American Idol)


Despite their differences, 'what these different documentary styles share is a political concern, differently informed by socio-cultural context to depic the lives of 'ordinary' people' Biressi & Nunn (2005). Direct Cinema and cinema verite pushed for a more equal relationship between film maker and subject whilst Free cinema showcased a respect for working class culture.




References


Biressi, A. & Nunn, N. (2005). Real Lives, documentary approaches. In Reality TV: realism and revelation. (pp. 35-58) London: Wallflower.