Reflexive vs Participatory
- bekahblack101
- Nov 9
- 3 min read
As an art form, Documentary films are inherently guided, as any other cinematic genre is, by their creators. While on the surface this influence from filmmaker to final product may seem more masked in non-fiction films, it can be argued that it is still intrinsic to the tone, messaging, and central theme of any documentary. As a result of this relationship, certain documentary modes lead above others in choosing to emphasize this aspect, even electing in some cases to call attention to the filmmaker as they go through the process of making the film. In doing so, these films take on a whole new meaning. This ideal perhaps is best explored through the reflexive and participatory frameworks.
As shown through class readings and the screened films, these two frameworks have quite a bit of overlap in their general substance. Most of this stems from how both modes endeavor to call some attention to the face behind the screen or the filmmaking process itself in one way or another. This is often demonstrated through intercutting footage of the director addressing the audience specifically, as was the case for Sherman’s March, or having some additional footage from a voyeur’s perspective where the audience witnesses the filming process itself, which was clearly demonstrated in Man with a Movie Camera.
The crucial differences between the two forms, however, all comes down to the emphasis. The reflexive mode, in principle, will repeatedly focus on sharing inside perspectives from the filming process itself. This is meant to illuminate and perhaps even comment on the relationships that form through the making and viewing of films (Nichols, 181). In particular, the reflexive mode highlights the relationship between the filmmaker and the audience, endeavoring to get the viewers thinking about their perceptions and notions of truth (MasterClass). As an example of this concept, the film shown in class, Surname Viet, Given Name Nam, was a very unique interpretation of the reflexive mode. Stylistically, the presentation was definitely more in line with the poetic mode as it certainly created a specific tone and mood through its artistry. However, from the very opening of the film, the story calls attention to the fact that much of the footage were purposely staged recreations with actresses standing in for the original women who were interviewed. Right out the gate the filmmaker calls attention to the process of the film and challenges the audience to consider the information that will be presented throughout the runtime in a new light.
In contrast to this, the participatory mode instead places greater emphasis on the involvement of the filmmaker throughout the films (Nichols, 160). The key relationship defined through this framework is that of director and subject. Not only does this mode highlight the filmmaker being involved and engaging with the subject, to a certain extent it also showcases how the filmmaker might actively influence the subject or course that the film takes (MasterClass). As mentioned before, Sherman’s March is a very clear example of this framework, as Ross, the director, consistently speaks to the women featured and also directs the focus of the film based on his personal desires. He also intercut many clips of himself directly addressing the camera, using it as somewhat of a diary to record his thoughts.
With that being said, there is much to be gained from the study of differing frameworks, especially in a documentary sphere. Since it is a very broad genre, these distinctions not only make it easier to navigate, but also help an audience to appreciate the complexities and intricacies of this type of film.
Bibliography:
Bordwell, David. “Directors: Vertov.” Observations on Film Art, 2023, www.davidbordwell.net/blog/category/directors-vertov/. Accessed 10 Nov. 2025.
“Film 101: Understanding Reflexive Documentary Mode - 2025 - MasterClass.” MasterClass, 2020, www.masterclass.com/articles/understanding-reflexive-documentary-mode. Accessed 10 Nov. 2025.
“Guide to Participatory Mode: 3 Participatory Documentaries - 2025 - MasterClass.” MasterClass, 2020, www.masterclass.com/articles/guide-to-participatory-documentaries. Accessed 10 Nov. 2025.
Nichols, Bill, and JaimieBaron. Introduction to Documentary, Fourth Edition. https://platform.virdocs.com/read/2759169/173/#/4/4.
Bekah, I loved how began your post by highlighting the main thing that ties the participatory and reflexive documentary modes together, “how both modes endeavor to call some attention to the face behind the screen or filmmaking process itself. The way you broke down the fundamental frameworks of the two modes was very helpful in helping me further understand the connections and differences between them. I especially was interested in how you explained that reflexive documentary is a way to show the relationships that form through the creation and viewing of film, and the specific example of the staged interviews from Surname Viet, Given Name Nam was absolutely fantastic. Overall, your post was articulated very well, and I felt that…