Doc Mode 3: Observatory

As we come to the end of the semester, we have arrived at the conclusion to our

study of different documentary modes. Given the unique circumstances, we were

presented with a choice to pick from one of the frameworks we haven’t yet utilized to

guide this next film. With this third and final documentary mode exploration (before the

final film, of course), it took me a bit of time to choose between the remaining

frameworks I had yet to explore. Of the 6, I had not yet attempted observational,

expository, reflexive, or the performative method. Each one has vastly different

techniques and common specifications in communicating their ideas, and as such, can

take from the same source material and drastically alter how it is presented both in the

filming process and the editing stage. Naturally, this presented a slight dilemma as it

seemed the world was my oyster, so to speak. Ultimately I elected to take the simple

path and hearken back to the first mode we studied this semester, which also happens

to be considered the first documentary making method, the observational mode.

The observational/observatory mode is perhaps one of the more straightforward

documentary frameworks. Films in this category seek simply to capture what is going

playing out in front of the filmmaker, exactly as it would normally, sans camera. This

mode has often also been named the ‘fly on the wall’ approach (MasterClass). Creators

of this framework typically endeavor not to intervene with the subject or event on displayto the best of their abilities. As aptly stated by the title, they must simply observe. This is

done mostly for the effect of capturing as much authenticity as possible and placing

emphasis on the subject itself rather than anything about the filmmaker or the film’s

creation process (Nichols). We mostly saw this approach during our viewing of Grey

Gardens. While this film was somewhat experimental in that the filmmakers would

occasionally interact with the subjects, it was predominantly in line with the

observational mode as the filmmakers were gathering footage of what they saw around

them. The subjects and visuals by proxy, were the ones driving the ‘narrative’ of the film.

Film poster for Grey Gardens

For my film Daily Bread, I knew I wanted to emulate a similar simplicity as found

in Grey Gardens. While the subjects featured in that film were by no means simple

themselves, the core elements of the filmmaking were. The creators noticed the

processes that unfolded before them and attempted to capture them on film, using

standard shots and setups so that the audience could take it all in. I applied a similar

ideology for my exploration of this mode. I figured Thanksgiving is an especially unique

time of year outside of it just being a holiday because there is often so much going on at

once. Food is being cooked, families are interacting, houses are lively with a certain

mood or decor, etc. I wanted to capture a small portion of that in my film. By focusing on

just a few of these aspects like the making and aftermath of my mothers dinner rolls,

and simply sitting back to observe the atmosphere, I think I was indeed able to let the

holiday spirit convey itself.

Sources:

“Film Documentary Guide: 6 Types of Documentaries - 2025 - MasterClass.”

MasterClass, 2020, www.masterclass.com/articles/film-documentary-guide.

Nichols, Bill, and JaimieBaron. Introduction to Documentary, Fourth Edition.

https://platform.virdocs.com/read/2759169/106/#/4/4.