Mapping Nichols’ Modes in Documentary Film – Ai Weiwei: Never Sorry and Helvetica
Bill Nichols’ “modes” theory of classifying documentary films by describing them in terms of poetic, expository, observational, participatory, reflexive and performative “modes” is well established as an analytical model. Nichols’ mode taxonomy is generally used to broadly describe the predominant m...
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The International Academic Forum
2017-04-01
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doaj-f9296fb2d5d04933906c30ead65f8ec02020-11-25T02:26:21ZengThe International Academic ForumIAFOR Journal of Media, Communication & Film2187-06672187-06672017-04-012110312710.22492/ijmcf.2.1.07Mapping Nichols’ Modes in Documentary Film – Ai Weiwei: Never Sorry and HelveticaBarry Natusch0Beryl Hawkins1Nihon University, JapanTemple University, JapanBill Nichols’ “modes” theory of classifying documentary films by describing them in terms of poetic, expository, observational, participatory, reflexive and performative “modes” is well established as an analytical model. Nichols’ mode taxonomy is generally used to broadly describe the predominant mode present throughout a film and therefore operates at a macro level. It is proposed, however, that Nichols’ concept of modes is also applicable at a micro level. By this is meant that in-depth scene-by-scene analysis is also possible in terms of Nichols’ modes in order to better understand the film structure and the director’s vision. To demonstrate the proposed approach, Nichols’ theory of modes is used to analyse the structure of two recent films, Ai Weiwei: Never Sorry (Klayman 2012) and Helvetica (Hustwit 2007) by categorizing scenes in terms of modes. It is shown that this empirical approach is useful for filmmakers and film critics and justifies the influential position of Nichols in film theory.https://iafor.org/journal/iafor-journal-of-media-communication-and-film/volume-2-issue-1/article-7/Helveticadocumentary filmsBill NicholsAi Weiweinarrative |
collection |
DOAJ |
language |
English |
format |
Article |
sources |
DOAJ |
author |
Barry Natusch Beryl Hawkins |
spellingShingle |
Barry Natusch Beryl Hawkins Mapping Nichols’ Modes in Documentary Film – Ai Weiwei: Never Sorry and Helvetica IAFOR Journal of Media, Communication & Film Helvetica documentary films Bill Nichols Ai Weiwei narrative |
author_facet |
Barry Natusch Beryl Hawkins |
author_sort |
Barry Natusch |
title |
Mapping Nichols’ Modes in Documentary Film – Ai Weiwei: Never Sorry and Helvetica |
title_short |
Mapping Nichols’ Modes in Documentary Film – Ai Weiwei: Never Sorry and Helvetica |
title_full |
Mapping Nichols’ Modes in Documentary Film – Ai Weiwei: Never Sorry and Helvetica |
title_fullStr |
Mapping Nichols’ Modes in Documentary Film – Ai Weiwei: Never Sorry and Helvetica |
title_full_unstemmed |
Mapping Nichols’ Modes in Documentary Film – Ai Weiwei: Never Sorry and Helvetica |
title_sort |
mapping nichols’ modes in documentary film – ai weiwei: never sorry and helvetica |
publisher |
The International Academic Forum |
series |
IAFOR Journal of Media, Communication & Film |
issn |
2187-0667 2187-0667 |
publishDate |
2017-04-01 |
description |
Bill Nichols’ “modes” theory of classifying documentary films by describing them in terms of poetic, expository, observational, participatory, reflexive and performative “modes” is well established as an analytical model. Nichols’ mode taxonomy is generally used to broadly describe the predominant mode present throughout a film and therefore operates at a macro level. It is proposed, however, that Nichols’ concept of modes is also applicable at a micro level. By this is meant that in-depth scene-by-scene analysis is also possible in terms of Nichols’ modes in order to better understand the film structure and the director’s vision. To demonstrate the proposed approach, Nichols’ theory of modes is used to analyse the structure of two recent films, Ai Weiwei: Never Sorry (Klayman 2012) and Helvetica (Hustwit 2007) by categorizing scenes in terms of modes. It is shown that this empirical approach is useful for filmmakers and film critics and justifies the influential position of Nichols in film theory. |
topic |
Helvetica documentary films Bill Nichols Ai Weiwei narrative |
url |
https://iafor.org/journal/iafor-journal-of-media-communication-and-film/volume-2-issue-1/article-7/ |
work_keys_str_mv |
AT barrynatusch mappingnicholsmodesindocumentaryfilmaiweiweineversorryandhelvetica AT berylhawkins mappingnicholsmodesindocumentaryfilmaiweiweineversorryandhelvetica |
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1724847599371943936 |