When we think of documentary, more often than not, we believe we will become informed on certain topics and learn something that we didn’t already know. However, participatory and reflexive modes of documentary challenge this presupposition through their techniques of filmmaker influence, involvement, and technique to tell the story.
These two modes have little in common. In short, the reflexive mode is aware of itself and wants to show the audience that it is aware of the things that are present and perpetuated within documentary itself. The participatory mode has little to do with being aware of itself, but focuses on the relationships and interactions between the subjects and the filmmaker. Despite these differences, the audience can be made aware they are watching a documentary and gain a heightened sense of awareness. In Sherman’s March, there’s a scene where the filmmaker talks to the camera and interviews himself. Many times in the film, the camera and what Ross is doing is acknowledged and mention, the documentary is spoken of. Similarly, in Surname: Viet, we know the self-aware nature of the documentary through intertitles and mediums; it acknowledges itself. One other similarity is the fact that systems can be made aware of in the film. In Sherman’s March, between Ross’ many experiences with women and his comparison to Sherman’s march, their similarities, etc. The audience becomes aware that Ross of his male gaze and how he views women - he doesn’t hide from it. Whether this was intentional during production or post, we do not know. But this system of patriarchy and gender norms is present. In Surname, the women actors speak to and share experiences of being oppressed during the Vietnam War. Both films raise awareness of the film and exhibit systems.
Within participatory documentary, its main focus is how the filmmaker interacts with others. Often, the social actors react to the filmmaker or the filmmaker reacts to the social actors and the environments they are in. It is a highly collaborative and reactive technique that audiences are drawn to. Because the focus of participatory documentary is on humans, it feels personal, authentic, and real. Many times, we can relate to or identify with some kind of idiosyncrasy that one of the actors has. For example, in Sherman’s March, much of the audience can identify with the experience of learning what Mormons believe or being a Mormon that has to explain what they believe. The audience feels like the filmmaker, learning new information when it is presented and making connections along the way. We could deem it “participatory” because the audience feels like they are participating in the making of the film. It is also incredibly easier to watch than reflexive documentaries. We sit back and watch and watch experiences that happen, like when Ross meets a new girl or gets scolded by his previous teacher. Participatory documentaries reflect a bit of real life and things the audience can identify with, building connections not only between filmmaker and subject, but between filmmaker, subject, and audience.
The reflexive mode is a bit more difficult to understand or watch because it wants us to pay attention and be aware of what it is doing. That is the whole point of this mode. In Surname: Viet, we learn that the women who were recounting experiences in Vietnam during the war are actually actors. In Surname, Minh-ha intentionally reveals truth two-fold: a technique documentaries use to evoke emotion and credibility and realness, and drawing attention to a patriarchal system that oppressed women and suggesting this system is still in place today. It plays with expectations and assumptions and preconceived notions. It challenges us not only to watch it, but also our beliefs, questioning itself. It criticizes the medium itself to keep it fresh, valid, and pure, always pushing the envelope, art, and the ‘creative treatment of reality.’
Reflexive and participatory modes are powerful tools in which we can use as filmmakers to share experiences and analyze art and systems that may harm others or are unaware of. At the end of the day, both modes inform us through dialogical and self-aware techniques.
