Introducción al Documental

by Bill Nichols

Noted film scholar Bill Nichols provides a one-of-a-kind overview of the most important topics and issues in documentary history and criticism. Designed for students in any field that makes use of visual evidence and persuasive strategies, from the law to anthropology, and from history to journalism, this book spells out the issues and concepts that characterize documentary film and video production and provides the foundational key to furhter explorations in this exceptionally vital area of filmmaking today.

Author Biography: Bill Nichols is an internationally recognized authority on documentary and ethnographic film. He has published on a wide-range of topics from cybernetics and visual culture to New Iranian Cinema. His anthology, Movies and Methods (1976),helped define the new discipline of film studies. A former President of the Society of Cinema Studies, his previous books include Representing Reality and Blurred Boundaries, both on issues in documentary film, and, as editor, Maya Dayan: Radical Transformations, on the postwar American avant-garde's most important figure.

Genres: Film, Nonfiction, School, Theory, Art

Paperback

First published January 1, 2001

About the author

Bill Nichols (born 1942) is an American film critic and theoretician best known for his pioneering work as founder of the contemporary study of documentary film. His 1991 book, Representing Reality: Issues and Concepts in Documentary, applied modern film theory to the study of documentary film for the first time. It has been followed by scores of books by others and by additional books and essays by Nichols. The first volume of his two-volume anthology Movies and Methods (1976, 1985) helped to establish film studies as an academic discipline.

Bill Nichols is Professor Emeritus in the Cinema Department at San Francisco State University and Chair of the Documentary Film Institute advisory board.

Reviews

[Adam Johnson · Rating 3 out of 5]

*Read as far as I needed to for class. Will truly finish later.

Nichols packs lots of good information in here, though it's a bit of a slog to get through. I'm not sure whether that's due to a writing style, the way the slightly-longer pages are formatted, just me, or a combination of things, but it's recommendable nevertheless. You might just to push through a bit more or power on with an extra cup of espresso.

[Telle · Rating 4 out of 5]

this is an essential text for one of my modules that doesn't start until January so I was just going to have a flick through n see if anything caught my eye . instead stayed up until 3 am finishing it through very squinted eyes. excellent. really really broadened my expectations and understanding of documentary

[MMelania · Rating 3 out of 5]

This book was truly a godsend for my thesis research. Very easy to comprehend, it offers an historical overview of documentary film and its evolution as well as a detailed analysis of its characteristics. The chapter about how to write about documentaries was truly useful and the notes suggesting further readings was very convenient. However, the book itself doesn not offer a comprehensive and complete knowledge of documentary filmmaking but it is indeed a good start.

[Léo]

Pour le mémoire des chapitres mieux que d autres…

[Stella Bolina · Rating 3 out of 5]

usando aq da lógica para explicar o q senti sobre o livro é: necessário mas não suficiente, há de se fazer outras leituras.

[Teagan Stewart · Rating 3 out of 5]

Really good introduction into understanding documentaries although some of the chapters I think were a little out of order. Good anyway though.

[Julha · Rating 5 out of 5]

"Seu trabalho da ênfase na relação entre as formas da retórica e as vozes da enunciação expositiva do documentário" - Fernão Pessoa Ramos.

Em uma das entrevistas, vistas por mim em sala de aula, que Bill Nichols deu durante sua carreira, ele diz que "o prazer do documentário está em a obra falar COM VOCÊ, te chamar para o debate." É pessoal e direcionado ao espectador. Fofo. Dentro dessa visão, Nichols, vai elaborar o conceito de epistemofilia e o relacionar com os universoS dos documentárioS, e aqui eu reforço o plural para justificar o porque desse livro ser 5 estrelas para mim: não acredito que documentário seja gênero. Ele próprio [Nichols] reconhece aqui a dificuldade de definir documentário, de o limitar a uma só caixa. É meio, caminho, algo a parte. Maior liberdade dentro de seus diversos modos/dispositivos; elaborados aqui por Nichols em um exercício de definição quebrado em 5 vieses, usados para reforçar a força gerada pelo o que ele vai chamar de "discurso de sobriedade". Ou seja, manipulação parcial da opinião, como o poder atravessa a maneira de fazer e atuar, inevitavelmente.

Bill Nichols, você é o mais cabeçudo e o mais querido, obrigada por tantoooo!!! Quebrei muitos preconceitos ao estudar seus escritos e conceitos.

[Lukáš Hamara · Rating 4 out of 5]

Informačne pomerne bohaté, pre nováčikov vo svete dokumentu hodnotné rozdelenie rôznych typov dokumentu, rozbory jednotlivých modov tvorby ako i konkrétnych filmov. Takisto ma potešilo, že príklady rozoberaných filmov nezahŕňali iba prefláknuté kúsky, ale i množstvo klenotov, neznámych v naších kultúrnych končinách - neraz s 0 hodnoteniami na čsfd. Skvelo sa vďaka tejto knižke objavujú nové, nekonvenčné tipy na pozeranie a na analýzu. ALE - dávno som nečítal tak zdĺhavú, repetitívnu knihu, v ktorej každá informácia musela byť zopakovaná minimálne tri krát, rôznymi spôsobmi. Pri niektorých kapitolách som uvažoval, či ide o akúsi čudesnú autorovu hru, koľkými spôsobmi môže vyjadriť rovnakú myšlienku, napr. že "Dokument nie je objektívnou dokumentáciou žitej reality, ale jej autorskou štylizáciou." a podobne. Obohatilo ma to, ale bolo to utrpenie čítať, čomu nasvedčuje aj to, ako dlho mi to trvalo (takmer štvrť roka, s pauzami na iné knihy). 3,5*

[Flip Ivanicska · Rating 4 out of 5]

Só de ter uma consciência social ao mesmo tempo ampla e humilde já é clássico. Essa "humildade" também é intelectual no sentido de entender que o documentário é parte de um discurso muito mais amplo, ñ só aquela análise frita estritamente cinematográfica parecendo q ñ existe nada além da tela. Doc tem a ver com jogo de poderes não só entre instituições mas também identidades e culturas. Brabo demais reconhecer os cânones britânicos mas também os filmes mais experimentais e "pessoais" sem colocá-los em uma mesma planície como a maioria das escritas mais antigas de cinema colocam, meio que copiando uma visão hollywoodiana de q existe "o cinema" e ñ "cinemas".

Só ñ achei 100% pelo estilo didático, de repetir a mesma coisa de diversas formas, e um pouco pela sistematização q é muito mais analítica, limitante e sistemática do que realmente ajuda a entender melhor os documentários em si.

[Ollie Scoggins · Rating 4 out of 5]

Honestly I did not read this all the way through in a sitting but over this semester I have read I think every chapter at some point this book is kind of fire if you are interested in the construction of documentary and how it works as an artistic form.

Nichols is smart smart and I think this is one of my favourite pieces of scholarship I have read in a long long while very perceptive and I think well reasoned arguents throughout and he does a great job at considering varying perspectives that may disagree with him and the points and taxonomy he tries to create here. I think the sign of a true academic is being open to the fact that your stuff could be seen as flawed and terrible in the eyes of some people and Nichols more than most does a wonderful job at engaging with argument and discussion about his points. Great stuff!

[Quinn · Rating 4 out of 5]

This is for the 3rd Edition. Bill Nichols is The Man for allowing documentary films to be brought into a greater light in the filmmaking world, but especially for criticism and theory to have a wider target. By offering very insightful questions to the reader there are many new ideas and options to be thought about. Asking a question is the first step to finding an answer, for learning and expanding your knowledge.

“But documentary is not a reproduction; it is a representation.”

[Valentina · Rating 1 out of 5]

Sì bla bla un testo universitario forse è una palla a prescindere ma questo che cerca di categorizzare in tabelle e sottotabelle il cinema e che parla con un tono di supponenza onestamente encomiabile li batte tutti + il finale che spiega esattamente /come/ scrivere un saggio sui documentari? Dio ma regolate l’ego non potete avere la verità in tasca nei campi delle arti come ve lo devo spiegare

[Casey Browne · Rating 3 out of 5]

Read as far as I needed to for class. Nichols packs lots of good information in here, though it's a bit of a slog to get through. I'm not sure whether that's due to a writing style, the way the slightly longer pages are formatted, just me, or a combination of things, but it's recommendable nevertheless.

[آية · Rating 3 out of 5]

لطيف، بس لازم تكون شايف كل الأفلام اللي بيحكي عنها -وهي كتير جدًا- وإلا هتصاب بالتوهان، وده كان مرهق

[Barış Konor · Rating 5 out of 5]

Belgesel Sinema hakkında baş eser.

[paula · Rating 4 out of 5]

good soup.

[JJ]

I think you pick up all of this through osmosis just living in the world, hence why I listened to it as an audiobook.

[Raul · Rating 3 out of 5]

This book helped me develop definitions for what could a Sound Documentary be.

[laura · Rating 3 out of 5]

informativo pero solo me interesa porque tengo que hacer un trabajo

[Anja Nikkel · Rating 2 out of 5]

bestie had a lot to say

[Sarah Brienza · Rating 4 out of 5]

Had to read for class. Some parts were more interesting than others

[César Castillo Vega · Rating 3 out of 5]

Necesario, orientador, clarísimo, un catálogo de películas interesante y que recoge críticas anteriores, pero aún así más fome que acuario de almejas

[Alejandra · Rating 3 out of 5]

I struggle a lot reading this one. Nichols is extens by exemplifying to explain the different modes in documentary… lost in some references tho

[Jie · Rating 3 out of 5]

Find it interesting that i read the book without watching too many documentaries.

[Erin]

Incredibly useful.

[Bill · Rating 5 out of 5]

It is now in the 4th edition. 1-3 are lacking key elements but useful

[Heather Jacks · Rating 5 out of 5]

If you have a love of documentary film, then, very simply this book is for you.

A few months ago, I found myself presented with an interesting proposition: to make a documentary film. It was a startling idea, to say the least. What do I know about making a film, let alone a documentary? The answer would be zero. Nada. Nothing. Zilch. Aside from watching hundreds of documentary films—and I do mean literally, hundreds, I knew nothing about how to make one. But at the heart of every good film is a good story; this especially holds true for documentaries. I had one of those. I also had great footage and interviews. I thought I was nearly there; so why not? Let’s make a documentary.

After a healthy dose of the ‘Filmmaking for Dummies’ style books, which there are many, I felt prepared for my new adventure. And then my boyfriend brought me a book by Bill Nichols, simply titled Introduction To Documentary. What? A textbook? Leave it to my Engineer mate to make this an academic exercise. Bah Humbug. But, it was this book, which took me back to the drawing board, forcing me to throw out all my previous conceptions and perceptions; to understand why I love documentaries, what makes them special, what makes them work and how ultimately, I, as a storyteller will do exactly that; choose the story to tell and how to tell it. Introduction to Documentary caused me to realize that I didn’t just want to make a good film, because I could; but that I wanted to create something of value with a message and meaning; to, as Mr. Nichols says, ‘stand in intimate relation to a historical moment and those who populate it.’

About the book: It is a textbook. I mention this so that when you choose to embark upon this reading journey, you are apprised that the material may be esoteric at times, may be academic and is certainly above and beyond the scope of ‘Dummies’ style books. However, it is not a dull or dry book, as many texts fall victim to. Bill Nichols himself is an expert in contemporary American and foreign film, having written ten books on the subject. He recently retired as a Professor of Cinema from San Francisco State University. These levels of expertise, coupled with his teaching background, make this book insightful and extraordinarily thought provoking. In the 323 pages, he discusses and encourages us the readers to contemplate many aspects of documentary film from how to define documentary, which sounds easy, but turns out, not so much; to, ‘ethical concerns’ in documentary; the ethics of representing others. It was a fascinating topic, that I had not previously considered, and it is integral to the heart of documentary. One chapter that I found particularly compelling was; ‘what gives a documentary a voice of its own’? It was also the chapter which caused me to re-evaluate everything I had done over the past 8 months. He then moves through categories and models of documentary film, how documentaries have addressed social and political issues and concludes with a listing of distributors.

For me, after reading the final page, I put the book down, feeling a new sense of inspiration, a deeper appreciation of the genre and armed with more focused goals. I realized that ‘Oh yes, it was definitely time to go back to the drawing board and start over.’ I always knew I could tell a good story. Now, I wanted to tell a great story….and in no small part, due to this book, I believe I can….

[Pierre · Rating 5 out of 5]

Detailed and extremely comprehensive, this introduction to documentary is probably the best one out there. Filled with examples and moments of reflections, it approaches different aspects of documentary film with a socratic method and analytical thinking. I highly recommend this book.

[Richard Wu · Rating 4 out of 5]

Bill Nichols presents a thorough grounding in documentary theory, ethics, and modes. His big achievement is his framework of documentary categorization, of which the six modes are each sufficiently distinct in character as to seem, in total, valid and quite comprehensive.

Its parent framework, which classifies the majority of documentaries as top-down (social issues) and bottom-up (personal portraits) also seems to hold true, with certain modes being more prevalent in each.

The book additionally presents a rundown of the history of documentary, which is just as fascinating as its (appropriately shallow) ruminations on the ever-shifting, interpretive nature of meaning.

As someone who believes that authorial decisions can be made more wisely once you understand the theory behind them, I think this is an essential read for aspiring and current documentarians. Documentary buffs might like this too, but probably not as much as watching documentaries.

My favorite quotes
“…filmmakers, like all great orators, must speak from the heart in ways that both fit the occasion and issue from it.” [p.6]

“An event recounted becomes history reclaimed.” [p.28]

“With most social practices, where more than one way of doing this is possible and where more than one set of values or beliefs exist, different approaches must contend with each other. Dominant values must struggle to remain dominant. Alternative values must struggle to gain legitimacy.” [p.103]

“…the most insidious forms of ideology may be precisely the ones that make community seem natural, or organic.” [p.215]

[Mikel Zabaleta]

Bill Nichols nos sorprende con los diferentes tipos de documentales que nos podemos encontrar en este tipo de genero cinematográfico. En el capitulo 6 (What Types of Documentary Are There?) nos quiere dar a conocer cada tipo de documental con sus características generales. Nos habla sobre el genero documental poético (estas películas no se centran en personajes, sino en las personas como entidades, y la mayor importancia se le da ha la estética), explicativo (en estos documentales se guía a la audiencia con un narrador y son fáciles de entender), reflexivo (son las películas que ponen todos los temas de la humanidad en cuestión, hacen pensar sobre los temas que se narran, dejan abiertas todas las respuestas para que el espectador saque su propia respuesta al dilema), observaciones (son los documentales que solo observan, cámara estática... solo quiere captar lo no visto), participativo (son películas que el autor también aparece como participante entre los personajes del documental), y por ultimo el genero performance (en estas películas se denuncian temas personales, sociales, políticos... son denuncias que se pueden representar de forma artística...).

El capitulo en general es muy completo, facilita el entender sobre diferentes temas y términos. Ayuda a completar la sabiduría sobre el cine documental, es muy interesante.