Doc Mode 2: Participatory

We’ve learned throughout this semester that the different frameworks in crafting a documentary greatly impact the final outcome of the film. Though each of the frameworks contain unique aspects and standard techniques that differentiate them, they are all still linked by one common thing; their emphasis on film ‘relationships’. These relationships, in essence, are what makes each mode what they are. As an example, the performative mode is about the filmmakers relationship to an individual which they connect to larger social themes in the film (Masterclass).  Continuing on this theme, the participatory mode is similar in that it emphasizes the relationship between the filmmaker and the subject themselves. When reading, I was very intrigued by this dynamic because I felt that it helps to make certain documentaries seem more personal for their creators. As such, I decided to use this mode for this activity.

The participatory mode of documentary filmmaking is rather unique from some of the other frameworks as it hinges on the filmmakers active involvement throughout (Nichols, 159). In this mode, not only is the filmmaker somewhat omnipresent and purposely called attention to, but they also directly affect the progression of the ‘narrative’. Now, the degree to which the creator of a participatory documentary influences the motions of the subjects and features themselves certainly varies (Masterclass). The example as viewed in class, Sherman’s March solidly lies on one of the more extreme ends of participation as the director, Ross not only is an active character throughout, but he also is the one driving the story, and the subjects featured are the ones he chooses. His decisions, financial state, and relationships with each of the women in the film are the driving force behind where he ends up.

In contrast, for my film, ‘Taters, I knew I wanted to have a slightly lessened involvement. While I understood the value of having a filmmaker who is largely driving the story (like in Sherman's March), I felt it was best for my film to place slightly more emphasis on the subject herself, my roommate Lolo. It also served well since the tasks she was doing were entirely reliant on her own cooking skills and not my involvement as a filmmaker. Her preparation of the potatoes was relatively repetitive and menial, which gave her the space to converse easily. Through filming I realized this created the best opportunity to follow the participatory framework, since our conversations would be the emphasis auditorally, as the visuals were more observatory in style. Because her process was rather repetitive, I figured that emphasizing our relationship and easy going atmosphere as roommates would provide a much more interesting foundation for the film, and add to the emotional resonance outside of the satisfaction in watching the process.

Sources:

“Film 101: Understanding Performative Documentary Mode - 2025 - MasterClass.” MasterClass, 2020, www.masterclass.com/articles/understanding-performative-documentary-mode. Accessed 23 Nov. 2025.

‌“Guide to Participatory Mode: 3 Participatory Documentaries - 2025 - MasterClass.” MasterClass, 2020, www.masterclass.com/articles/guide-to-participatory-documentaries. Accessed 23 Nov. 2025.

Nichols, Bill, and JaimieBaron. Introduction to Documentary, Fourth Edition. https://platform.virdocs.com/read/2759169/106/#/4/4. p. 159.