Conventions of Documentaries

The function and purpose behind conventional elements in specific typologies of genres - in terms of documentaries - is to entice particular demographics in order to optimise viewing numbers. The creators can maximise their impact on the target market / audience by implementing these conventional aspects; conventions offer various psychological needs that need to be fulfilled. One of these urges that can solve through the use of particular conventions is the repetitive dynamic that conventional conventions provide. The active audience enjoys embracing documentaries that link in with not only their favourite genre but their favourite generic conventions as well. This philosophical characterisation ties directly in with Steve Neale’s Genre Theory due to the interpretation that audiences enjoy specific media texts because of “repetition and difference” of repertories of genre elements used. Thus the reasoning behind generic conventions incorporated into certain media texts. Directors can easily identify these conventions by breaking them up into diverse media categories.

Camera shots / movements:

Camera work is an essential way of connoting key aspects hidden within the documentary, of which are connected to the theme. Utilising various camera angles enables the documentary to appear not only professional but also interesting as well - in order to appeal to an active audience. For instance: when conducting interviews in a documentary it is important to notice the diversification in camera shots; this is done to allow the editing element to cut in and out of shots, in order to engage the demographic. This may include the use of Reverses (over the shoulder shots), wide profile shots (allows to cut out wide to a side angle), medium shots and close ups. These are all conventional elemental cameras angles incorporated into modern-day documentaries, purely for the justification of engagement behind it.

Also, it is important to consider the Rule of Thirds aspect because when creating the interview set-up, the Rule of Thirds is taken very seriously. The interviewee should conventionally be placed on a side third of a loose frame – either side will do depending on the side you’re capturing from.

In addition, another generic convention for a documentary is to introduce a selection of cutaways relevant to the theme. These cutaways use the camera shot of a pull focus on some occasions to provide the primary target audience with something that will please the eyes. It is often used to draw the audience’s attention to something as well; we will consider this when conducting our perspective filming.

Furthermore, when planning the camera movement, it is true to say that the implementation of a panning shot with tracking, adding value to the overall complexion of the camera work, will indeed capture the interests and engagement of the demographic.

Ultimately, the conventions that I have mentioned above are all cemented within the foundation of the documentary and as a result, the director ends up with an incredible looking finished product that not only seems up to standard but also the concept of imaginative thought is praised by an active audience.

Editing:

The editing aspect of producing a world-class documentary is not to be overlooked. The post-production stage is a vital part of creating the masterpiece I am aiming for, as it enables the smooth flowing of he documentary. If you break it down, the incorporation of editing techniques will allow not only the camera shots but also the entire narrative to run and connect together smoothly. This essentially is the difference between an above average doc and an extremely powerful documentary. Thus why the conventions of editing need to be understood. There are various editing techniques that should be considered in terms of the generic element.

Firstly, an action match isn’t necessarily used in a documentary and therefore isn’t considered a conventional technique in a documentary. Nonetheless, depending on the shot list an action match could be introduced in order to stretch the boundaries of generic conventional elements used in documentaries. This breaking of conventional codes could potentially link in with Richard Dyer’s Utopian Solutions Theory as it suggests the audience require “utopian solutions” to their everyday lives. In this case, breaking the boundaries of conventional aspects will offer the active audience something ‘utopian’.

On the other hand, conventional editing techniques will include: cross cutting or parallel editing between interviews. This is done in order to entice the demographic and enable the audience to gain new alternative perspectives on different aspects; in this case, it is done on interviews to understand both sides of the story. In addition, a shot, reverse shot will be used as it is a conventional element of not only interviews but documentaries themselves as well.  This is exactly what we will do in our documentary.  Also the implementation of cutaways is useful in order to connote a related action, object or person. This is done to emphasise an aspect and helps the audience to understand. Moreover, other conventional editing techniques - in relation to documentaries – are dissolves, cuts, fades and a montage. These generic conventions are utilised in order to engage an active audience. A graphic match maybe introduced due to the connotation behind it – it could denote change over a period of time. This is indeed a convention of a documentary and will most definitely be used in our documentary.

Narrative structures:

The generic conventions of narratives within documentaries typically follow the route of a linear narrative, in which everything is in chronological order from beginning to end. This is helpful if you’re planning on denoting a timeline. Also, another convention of documentaries in terms of narrative structure is that a closed narrative is often used in documentaries as it provides factual, information also, so nothing will be left unexplained.

There is an additional element that is conventional to documentaries whereby a particular clip is dispersed throughout the documentary in order to not only engage the demographic to pay attention but to also act as ‘thread’. By this I mean it provides stability to the overall running of the documentary and enables cuts.  

Locations:

Locations of documentary settings are established through the theme and whether or not the navigated location is suitable. For example: a football-fuelled documentary will be shot and based around various stadiums to accompany the mis-en-scene. Locations are a significant aspect as it sets the atmosphere and must be chosen wisely. In addition, a conventional location for a documentary is simply a studio or room whereby an interview takes place and / or being held.