The dogmatic documentary: the missing mode

Chu, Yingchi

doi:10.1080/17400309.2015.1073484

Cited by 2 publications

(4 citation statements)

References 23 publications

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“…The legitimating power of observation mainly comes from the belief that the camera cannot lie (Chu, 2015). Moreover, the audience is called upon to take a more active role, to 'see for yourself ' and to interpret what is said and done.…”

Section: Legitimation In the Participatory Mode: Witness Testimonymentioning

confidence: 99%

“…An impression of unmediated observation is created and anything that happens in the observational scenes is considered objective reality. The legitimating power of observation mainly comes from the belief that the camera cannot lie (Chu, 2015). Moreover, the audience is called upon to take a more active role, to ‘see for yourself’ and to interpret what is said and done.…”

Section: Legitimation In Documentary: Modes Of Representation and Leg...mentioning

confidence: 99%

“… 2 The order here is slightly different from that of Chu (2015), who puts the observational mode in front of the participatory mode. …”

mentioning

confidence: 93%

“…From the expository to the poetic mode, such a typology starts from an emphasis on firm audience guidance towards a gradual loosening of the constraint (see Chu, 2015). 2 Moreover, these modes differ in their ways of multimodal argumentation (Wildfeuer and Pollaroli, 2018).…”

mentioning

confidence: 99%

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Legitimation in documentary: modes of representation and legitimating strategies in The Lockdown: One Month in Wuhan

Yan

2021

Visual Communication

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This article synthesizes modes of representation in documentary films with strategies of legitimation. It develops a framework of documentary legitimation, where each of the six modes recognized by Bill Nichols in Representing Reality: Issues and Concepts in Documentary (1991) and Introduction to Documentary (2017) – expository, participatory, observational, performative, reflexive and poetic modes – tends to highlight certain legitimating strategies. For instance, the expository mode mainly legitimates through voice-of-God commentary, expert speeches and expository intertitles, the participatory mode legitimates through witness testimony and the observational mode legitimates through audience observation, and so on. The proposed framework is applied to a case study of a documentary entitled The Lockdown: One Month in Wuhan produced by China Global Television Network (CGTN). Analysis demonstrates how legitimation of the Wuhan lockdown during the early outbreak of COVID-19 is realized by adopting different representation modes and legitimating strategies. The article illustrates how an interdisciplinary approach may lead to a more comprehensive understanding of legitimation and its realization.

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Section: Legitimation In the Participatory Mode: Witness Testimonymentioning

confidence: 99%

Section: Legitimation In Documentary: Modes Of Representation and Leg...mentioning

confidence: 99%

“… 2 The order here is slightly different from that of Chu (2015), who puts the observational mode in front of the participatory mode. …”

mentioning

confidence: 93%

mentioning

confidence: 99%

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Legitimation in documentary: modes of representation and legitimating strategies in The Lockdown: One Month in Wuhan

Yan

2021

Visual Communication

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Third Front as Method: Mao, Market and the Present in CCTV Documentaries

Kendall

2024

The China Quarterly

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This article examines two major recent CCTV documentaries on the Third Front and its afterlives. The Big Third Front (2017) and Vicissitudes of the Third Front (2016) construct strong narratives about the Third Front during the Mao era, depicting it as a heroic struggle against nature which was forced upon China by foreign enemies. However, both documentaries encounter difficulties in adhering to the usual presentation of the Deng era as a resoundingly successful transformation. Vicissitudes ambivalently characterizes the Deng era as one of relative decline in contrast to the glorious early years of the Third Front and the flourishing present. The Big Third Front, meanwhile, conflates historical footage of the 1950s–1990s in a way that undermines the usual official division of PRC history into Mao and reform eras. This paper concludes by suggesting that academic focus on the Third Front can serve as a methodological tool for complicating the periodization of PRC history.

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The dogmatic documentary: the missing mode

Cited by 2 publications

References 23 publications

Legitimation in documentary: modes of representation and legitimating strategies in The Lockdown: One Month in Wuhan

Legitimation in documentary: modes of representation and legitimating strategies in The Lockdown: One Month in Wuhan

Third Front as Method: Mao, Market and the Present in CCTV Documentaries

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