Self-Reflexive Documentary and Authenticity: Chapter Review

 This chapter (Andacht, 2007) discusses the concept of self-reflexivity in documentary filmmaking and reality TV. Andacht gives several examples of how self-reflexivity, which he describes as drawing attention to the process of production in the content of the documentary, relates to questions of objectivity, representation and ethics in filmmaking. Self-reflexive filmmaking styles challenge the idea that the version of reality presented is one of objective truth, instead discussing the aesthetic and ideological choices that were made to decide what is filmed or included. Andacht discusses three self-reflexive methods, philosophical self-reflection which includes questioning of one’s identity and role in filmmaking, methodological self-consciousness which includes questioning one’s biases and the risks and distortions created through the process, and methodological self-criticism which further criticizes one’s own roles and choices in a way that directly impacts the final product created. He discusses the concept of the “encounter” between the filmmaker and subject as a central theme to self-reflexive documentary. An encounter can be seen as negative “interference” which interrupts the natural flow of events and therefore cannot represent it accurately. Or, it can be seen as a positive “shock” which creates the events and interactions that are worthy of being captured. Andacht describes that self-reflexivity can preserve the integrity of the topics being covered through allowing transparency as to how the filmmaking process impacts their representation. It can also be a tool for self-discovery for the filmmakers themselves, who are engaged in a constant process of self-evaluation and reflection. Andacht contrasts self-reflexivity in documentary with the same concept in reality TV, arguing that in documentary, it is used to add earnestness and reality, whereas in reality TV it is used to add drama and entertainment without adding information or value. 

This article is helpful to me because it discusses the ways that conscious choices in documentary production, like including representation of the filmmaking process, can impact concepts of authenticity and representation. Authenticity is a concept that comes up a lot in fandom and community studies (Smith, 1999; McRobert, 2015; Williams, 2015; Nelson, 2016) where constant processes of proving authenticity and immersion can negotiate relationships and roles. Therefore, I think that it is an important concept to incorporate into my filmmaking style and structure. While considering whether I want to take a participatory approach to my documentary where I am featured on screen and discuss the topics directly, I need to consider how my production choices will impact the form of my documentary overall. I think that I would fall more in the “shock” perspective on encounters, (Andacht, 2007) where I am causing a reaction that I am then documenting. Because of this, I think that incorporating self-reflexive filmmaking to some degree would help with transparency and authenticity. If I choose the participatory mode, authenticity would definitely aid my entry into horror hosting spaces, based on what I know about fandom from previous readings. Therefore, I can theorize that including transparency about my role as a researcher and filmmaker would be a positive contribution to the relationships I form, and to my work as a whole. Overall, I found this article interesting and it brought up some points that I hadn’t considered before when it comes to the filmmaker’s place within documentary narratives, and how this contributes to bias and authenticity. 

I have been working on branding and design related to my project, along with reading and writing for my theoretical framework and conceptualizing of my project overall. I put a lot of work into my pre-production binder, and it is definitely helping to shift my thinking towards the process of creating my project. With the timeline created I have some solid next steps and I will be working on my treatment and meeting with my committee soon. I feel a little bit behind on my work because I have been so busy with my short film for my other class, but I am working on catching up and forming solid plans and outlines for my work moving forward. 

References

Andacht, F. (2007). On the use of self-disclosure as a mode of audiovisual reflexivity. In W. Nöth & N. Bishara (Eds.), Self-Reference in the Media (pp. 165–181). De Gruyter Mouton.

McRobert, N. (2015). Mimesis of media: Found footage cinema and the horror of the real. Gothic Studies, 17(2), 137–150. https://doi.org/10.7227/gs.17.2.9

Nelson, L. R. (2016). Choosing illusion: Mediated reality and the spectacle of the idol in Kōji Shiraishi’s Shirome. Journal of Japanese and Korean Cinema, 8(2), 140–155. https://doi.org/10.1080/17564905.2016.1222149

Smith, M. J. (1999). Strands in the web: Community‐building strategies in online fanzines. The Journal of Popular Culture, 33(2), 87–99. https://doi.org/10.1111/j.0022-3840.1999.3302_87.x

Williams, R. (2015). Localebrities, adopted residents, and local characters: Audience and celebrity in a small nation. Celebrity Studies, 7(2), 154–168. https://doi.org/10.1080/19392397.2015.1045303