In order to get more creative with the genre at play, it is important to understand all the components we have control over so we can apply creativity in a structural manner. This chapter exists of 3 parts. At first, a closer look will be given to the core drivers of Non-Fiction work in current times; vocalising the trends and needs which are to be considered when working with documentary-style productions in 2018. The second part of this chapter introduces the fundamental tendencies of the documentary format. The third part leans to a practical approach to the making of Non-Fiction work through theoretical study about story structure, client expectations and scenes.
2.2 Documentary format film in 2018
With mountains of data created through exponential growth in computing power, 24/7 live global conversations and growing numbers of connected devices, a sense of data overload is luring for many. Instead of more numbers, there is a growing demand for structure and context to help comprehend what all this gathered information means. However, traditional frameworks do no longer offer satisfying solutions.
The banking crisis made people doubt economics and with Trump becoming president public trust in the government is fleeting. God is death, and our traditional news outlets seem flooded with fake news. Those who turn to science are faced with contradicting research outcomes as even global warming is still considered a hoax by many in the field. We live in a world of data, but no facts and numbers are viewed more as indicators than as statements about reality.
However, in this raging age of post-truth politics the documentary format has become an unexpected vehicle for providing answers through in-depth analysis into complex issues combined with character-driven story. An example being ‘Chasing Coral‘ by director Jeff Orlowski. This sequel documentary to ‘Chasing Ice’ by the same makers addresses the effects of global warming and pollution on the ocean. The crew follows a marketeer named Richard Vivers who explains how bad the marketing surrounding the effects of coral bleaching are; it is a problem of immense impact to our entire zoological system but nobody is talking about it because it appears below the surface of the sea out of our daily sight. According to Vivers: “If trees were to be bleaching, forests turning white, the problem would be a global conversation. However, nobody sees the impact of coral bleaching in the deep ocean riffs, the only notifications we can access about the matter are scientific papers without captivating images.” Chasing Coral explains this phenomenon and documents the difficulties scientists experience while trying to record the bleaching on video with specially developed underwater timelapse cameras. All the while creating immense sympathy for the heart breaking efforts young scientists and scuba divers go through while fighting for awareness to the impossible. The documentary binds a human element to a global problem, spicing the subject matter with cutting edge technological developments and a story the audience understands.
Where Non-Fiction writing used to be the less-fashionable, dull brother of fiction the genre now offers great potential. Documentaries make us feel smarter in a time when we are looking for enlightenment of the facts. Best documentaries will stimulate constructive conversation amongst viewers who often times feel compelled to spread the message further. People will listen.
2.2.1 | Make it premium
News and media outlets share facts but lack depth and fiction film, which as of currently sees a hype in explosive superhero and sci-fi/fantasy genres, often feel too far away to bring meaning to what is real.
So-called “premium documentaries” have the unique charm of speaking to both entertainment and knowledge “to allow us to escape as well as to make us think” (Kevin Iwashina, president of the board of Directors 2018 at the International Documentary Association (IDA)). Documentary makers are becoming better at their art, using storytelling techniques and character-driven motives. Dawning away from interviews which feel too scripted and making space for tangible emotions documentary makers now toy with the trending and much demanded for human-centric approach in their narratives.
2.2.2 | Distribution
Documentary series strive on Youtube as well, with the influencer lifestyle starting to crack and viewers getting tired of the always sunny other side leading to controversial dillema’s and monetized burn outs. There seems to be a trend on multi-sided expert conversations instead of unverifyable monologues. A new generation is growing up who do not know the documentary format from Animal Planet and Discovery but learn about non-fiction storytelling through Youtube.
Although theatrical distribution of documentaries is still a hesitant market, moviegoers surely do not hesitate for watching Non-Fiction at their homes, with digital platforms such as Apple, Facebook, Youtube Red, Netflix, HBO and Hulu all investing greatly in the format. (Indiewire, Anthony Kaufman, Apr 17,2018, ” “Netflix and Amazon Aren’t Buying Documentaries, But the Non-Fiction Market Is Booming Anyway”). Documentaries at Cannes doubled in five years to 16% in 2013 according to the film festivals director, Jerome Paillard.
2.3 Fundamental Tendencies of the Documentary
It is difficult to think of a format more diverse than the Documentary genre, however, writer and thinking Michael Renov suggests that each documentary practice has been guided by at least one of four fundamental tendencies. These should be seen as the set desired motivation for the creation of a documentary:
1. To record, reveal, or preserve
2. To persuade or promote
3. To analyse or interrogate
4. To express (aesthetically)
For many years, these four tendencies have been a guide for scripting documentaries, however, in 2008, when Youtube and online video activity became trending, Renov added a 5th tendency to the string.
5. The Ethical
While all other tendencies are quite self-explaining (the desire to be persuasive, the desire to analyse social phenomena, the desire to preserve a moment, the desire to express what do I feel about this thing), the category of The Ethical raises questions, which is the exact intent of the tendency. The Ethical is about the interactivity of 3 groups: the film maker, the subject and the audience which are brought together through the documentary film and asks us to consider how we are treating one another. The Ethical is about the desire to understand the relationship between the self and another and the need to have an ethical engagement in the world.
When recognising the desire which drives the documentary, a deeper understanding of the format can be achieved. The fundamental tendencies can be used as a red line when scripting a documentary to keep a consistent core element within the project.
2.4 Shooting corporate Non-Fiction
To produce a video with a non-fiction approach might be motivated by very economic and blunt stakeholders such as client influence and budget. Especially when operating with the client on set, non-fiction allows for a lot of staging and shaping by the product owner; as there is no set script and thus space for spontaneous alterations. It is of course true that the client is the ultimate expert on their service and product, however, it is also important to keep in mind that, as a film maker, you are the expert on making video content engaging and immersive. There are a few traps to keep a watchful eye for during non-fiction (corporate) work.
2.4.1 |The Audience
At first and foremost, it is up to the film maker, to recognize the questions beneath the question and to answer these with story- and visual techniques.
The film maker needs to get familiar with the target audience to ultimately figure out how to make this audience feel, think and do what the client proposes. If the audience needs to be inspired, a different approach for story and visual techniques is to be consulted than when the audience needs to be educated. The needs of the target audience are important building blocks for determining the creative aspect of the shoot.
2.4.2 | Story Structure
Second, when shooting a documentary even with a fundamental tendency and target audience need determined, it can be difficult to not end up with hours of material which do not serve the story. This makes the documentary an expensive and labour-intensive product. To minimise the effect of these tendencies, story structure should be applied as early on as possible.
A thought-out beginning – middle and end will help communicate shooting schedules and production purpose to investors and crew, maximalising the potential of recording at the right time, with the right people and the right questions.
2.4.3 | Story Components / Plot Points
Thirdly, there are the story components such as the establishing of characters, plot turns and inciting moments to create immersion and drama. Determining the story components allows the film maker to seed information in a way that allows the viewer to anticipate the story and its tensions and to ultimately resolve those.
By being aware of the story components beforehand the crew can react to quotes and happenings during filming for a richer story. It is highly encouraged to always consider the basic framework of the story even in low-budget non-fiction productions.
2.4.4 | Scenes
When having determined the fundamental tendency of the production, the needs of the audience, beginning – middle – end structure and decided on several plot points it is time to look to the scenes.
Scenes should be considered like a microcosm of story, each having their own beginning middle and end while also feeling like part of a bigger story.
In the case of non-fiction, scenes can be difficult to find, however, a simple trick for getting started is to consider whether a change in location could be a stand alone scene. There is no full control of what will happen once events unfold, but a storytelling approach can often times be found. When filming, for example, the coffee break at a conference, the film maker can choose to catch a few random shots of coffee, cakes and people lost in a dialogue or consider the break as a scene, or event of its own:
For a beginning the film maker can capture the coffee being prepared, spoons are neatly placed on the saucers and cakes are carefully positioned.
Inciting moment: Then the doors open, and guests are seen entering the informal bar area.
For the middle part guests are seen considering the cakes, engaging with staff members and coffee being consumed. A shared glance between two individuals leads to a handshake and a conversation. The conference has spiked conversations and networking.
Turning point: the speaker is seen in the lecture hall all set and ready to host the group again.
As an Ending people are seen nodding a thank you to the staff, leaving their empty coffee cops behind and heading back to the doors they entered from.
Applying story structure and plot points to individual scenes makes for a more engaging audience experience and a stronger sense of completeness.
– Summing up; Sub-Question 2. –
What are the important components and stakeholders of a Non-fiction, corporate-style production?
Many people are perplexed about the state of the world. Objective facts are fragmented and instead people are looking for a narrative which appeals to personal believes and emotions. This is were Non-Fiction productions enter the stage; delivering fact-based entertainment which does not only inform, but makes the audience feel what is going on.
There are 5 fundamental tendencies seen in Non-fiction productions: 1. To record, reveal, or preserve – 2. To persuade or promote – 3. To analyse or interrogate – 4. To express (aesthetically) and 5. To start a conversation about ethical consequences.
There are 4 important stakes when using a Non-Fiction approach to corporate productions. At first it is key to know your audience and their expectations. Secondly to work with story structure for a sensible narrative. Thirdly to look for Story components/plot points for added drama and at last to implement the latter not only in the production as a whole but to consider the individual scenes as stand-alone stories. Contributing to the greater whole while also telling their own structured tale.
Graduation Report Roos M Jansen 