Conventions of Documentary Form Research

Documentaries are based on a generalized norm to convey meaning, have an emotional appeal, and build factual narratives. Such conventions are talking-head interviews, observational shots, archival, montage editing, voice-over, reenactment, filming on location, statistics graphics, lower-thirds, subtitles and diegetic soundscapes. One of the conventions is talking-head interviews which establish a direct line of communication between the subject and the viewer. These interviews were shot in the traditional way, in mid-shots, which gives them personality, emotion, and credibility. B-roll shots are visual supplement to these interviews- demonstrating actions, scenes, processes, or symbolic images of whatever has been spoken. Most documentaries include observational sequences, a sequence of events that can occur without interference; this gives the sense of authenticity. Archived videos, including historical photographs, video clips, or objects, assist in placing the current narratives in the context of larger historical narratives. Lower-thirds are understandable as they will tell us about persons, dates, and locations. Sound design plays a leading role as well where ambient noise is employed and culturally significant music is played to make the worlds feel more authentic. Style of editing also depends on the sub-genres; social issue movies should be slower paced to allow the absorption of information whereas in investigative or travel documentaries the editing style should be quicker, which also keeps the energy. Voiceover narration can be used as a supportive structure in many cases and links scenes together and provides some insight that cannot be produced through visual means. Documentary filmmakers are required to reconcile authenticity with storytelling on the one hand, and conventions are applied to preserve the level of factuality on the one hand, and to make the narrative entertaining.

I knowingly embrace some conventions and leave some out in Attabad to Ajrak. I also adhere to such conventions as the light of nature, on-location shots, sound recording, and observational frame composition to provide a documentary-like effect in a fictional story. I do not believe in the orthodoxies of talking-head interviews, archival footage, or heavy voiceover since my film is concerned with emotional appeal and not delivery of facts. I blend conventions with real environments, culturally significant objects and long takes which are typical of observational documentaries in creating a fictional love story. This mixing contributes towards making the film realistic but poetic, grounded but expressive.

How My Movie Adheres, Parodies and Crossbreeds Conventions.

Follows:

• Emotionally understated romantic tension.
• Naturalistic performances
• Cinematography on the real land.
• Symbolic object (Ajrak)

Subverts:

• No epicurean revelation or denouement.
• No heavy dialogue or music
• None of the classic character arc resolutions.

Hybridizes:

• Romance shot, as a documentary.
• Actual cultural signs within a made-up emotional scenario.
• Landscape as a metaphor of emotion.