Abstract
This chapter uses documentaries to examine the processes, thinking and practices that a filmmaker undergoes, from the initial idea through to production. It will consider how the documentary filmmaker’s ideas and ‘intent’ is mediated and changed by commissioning practices and production constraints, and will further consider how the ‘authorial voice’ is heard despite these restrictions. The chapter will examine the ‘situatedness’ of the filmmaker—their cultural positioning, background and professional training—and how this frames their ideas, subject choices, content and the aesthetic execution of their films. Through a self-reflexive analysis of the pre- to post-production process, it will consider how ideas and concepts move organically, or responsively, to external issues, including further research, location recceing, production team influence and experience and, crucially, the act of the creative process itself. Subjectivity and intervention will be discussed in the context of Bruzzi’s (New Documentary. London/New York: Routledge, 2000) notion of ‘truth claim’ and Nichols’ (2001) discourse on ‘voice’. Ponech’s (Film Theory and Philosophy, R. Allen and M. Smith (Eds.). New York/Oxford: Oxford University Press, 1997) work on producer intent and non-fiction films will inform an investigation into the epistemological status of the producer, knowledge generation and ask who mediates and ‘constructs’ this knowledge, and how, creatively, this ‘construction’ is negotiated.
This is a preview of subscription content, log in via an institution.
Buying options
Tax calculation will be finalised at checkout
Purchases are for personal use only
Learn about institutional subscriptionsReferences
Altman, R. (1999). Film/Genre. London: British Film Institute Publishing.
Barnouw, E. (1974). Documentary: A History of the Non-Fiction Film. New York: Oxford University Press.
BBC Trust. (2016, April). [Online] Available: http://downloads.bbc.co.uk/bbctrust/assets/files/pdf/regulatory_framework/service_licences/tv/2016/alba_apr16.pdf. Accessed 25 May 2018.
Blaikie, A. (2001). Photographs in the Cultural Account: Contested Narratives and Collective Memory in the Scottish Islands. Sociological Review, 49(3), 345–367.
Bruzzi, S. (2000). New Documentary. London/New York: Routledge.
Carroll, N. (1996). Theorising the Moving Image. Cambridge: Cambridge University Press.
Carroll, N. (1997). Fiction, Non-fiction, and the Film of Presumptive Assertion: A Conceptual Analysis. In R. Allen & M. Smith (Eds.), Film Theory and Philosophy (pp. 173–202). New York/Oxford: Oxford University Press.
Cormack, M. (2008). Gaelic, the Media and Scotland. In N. Blain & D. Hutchison (Eds.), The Media in Scotland (pp. 213–226). Edinburgh: Edinburgh University Press.
Drew, R. (2006). Narration Can Be a Killer. In M. Cousins & K. Macdonald (Eds.), Imagining Reality. The Faber Book of Documentary (pp. 271–273). London: Faber & Faber.
Flaherty, R. (dir.). (1922) Nanook of the North. Criterian Collection.
Flaherty, R. (dir.). (1934) Man of Aran. Gaumont British Picture Corporation of America.
Frow, J. (2005). Genre. Oxon/New York: Routledge.
Gaut, B. (1997). Film Authorship and Collaboration. In R. Allen & M. Smith (Eds.), Film Theory and Philosophy (pp. 149–172). Oxford: Oxford University Press.
Godmilow, J., & Shapiro, A.-L. (1997). How Real Is the Reality in Documentary Film? History and Theory, 36(4), 80–101.
Grierson, J. (1979). Grierson on Documentary (Forsyth Hardy, Ed.). London: Faber.
Holmes, P. (dir.). (2011). Leasan sa Bhàs (Lesson in Death). BBC Alba.
Kilborn, R., & Izod, J. (1997). An Introduction to Television Documentary Confronting Reality. Manchester/New York: Manchester University Press.
Livingston, P. (1997). Cinematic Authorship. In R. Allen & M. Smith (Eds.), Film Theory and Philosophy (pp. 132–148). Oxford: Oxford University Press.
Maclean, D. (dir.). (2014). Balaich na h-Àirde (The Aird Boys). BBC Alba.
Martin-Jones, D. (2010). Islands at the Edge of History: Landscape and the Past in Recent Scottish-Gaelic Films. In D. Iordanova, D. Martin-Jones, & B. Vidal (Eds.), Cinema at the Periphery Contemporary Approaches to Film and Television Series. Detroit: Wayne State University Press.
Miller, S. (dir.). (2007). Seachd: The Inaccessible Pinnacle. Young Films.
Neale, S. (2000). Questions of Genre. In R. Stam & T. Millar (Eds.), Film and Theory: An Anthology (pp. 157–178). Malden/Oxford: Blackwell Publishing.
Nichols, B. (1991). Representing Reality. Bloomington/Indianapolis: Indiana University Press.
Nichols, B. (1993). “Getting to Know You …” Knowledge, Power, and the Body. In M. Renov (Ed.), Theorizing Documentary (pp. 174–191). New York: Routledge.
Nichols, B. (2001). Introduction to Documentary. Bloomington/Indianapolis: Indiana University Press.
Paget, D. (2011). No Other Way to Tell It: Dramadoc/Docudrama on Television (2nd ed.). Manchester: Manchester University Press.
Petrie, D. (2000). The New Scottish Cinema. In M. Hjort & S. Mackenzie (Eds.), Cinema and Nation. New York/Oxford: Routledge.
Ponech, T. (1997). What Is Non-fiction Cinema? In R. Allen & M. Smith (Eds.), Film Theory and Philosophy (pp. 203–219). New York/Oxford: Oxford University Press.
Rabinowitz, P. (1993). History, Documentary and the Ruins of Memory. History and Theory, 32(2), 119–137.
Renov, M. (1993). Theorizing Documentary. New York: Routledge.
Rosenthal, A., & Corner, J. (2005). New Challenges for Documentary. Manchester: Manchester University Press.
Rouch, J. (1978). The Politics of Visual Anthropology: An Interview with Jean Rouch. Cineaste, viii(4), 16–24.
Rouch, J. (2003). Ciné-Ethnography. Minneapolis: University of Minnesota Press.
Sarris, A. (1962). Notes on the Auteur Theory in 1962. Film Culture, 27, 1–8.
Sellors, P. (2007). Collective Authorship in Film. The Journal of Aesthetics and Art Criticism, 65(3), 263–271.
Stevenson, G. (dir.). (1996). An Iobairt (The Sacrifice). Camus Productions.
Tarkovsky, A. (dir.). (1975). The Mirror. Kino Video.
Vertov, D. (1992). Kino-Eye: The Writings of Dziga Vertov. California: University of California Press.
Winston, B. (1995). Claiming the Real: The Documentary Film Revisited. London: British Film Institute Publishing.
Winston, B. (2000). Lies, Damn Lies and Documentaries. London: British Film Institute Publishing.
Winston, B. (2008). Claiming the Real: Documentary, Grierson and Beyond (2nd ed.). London: British Film Institute Publishing.
Youdelman, J. (2005). Narration, Invention, History. In A. Rosenthal & J. Corner (Eds.), New Challenges for Documentary (pp. 397–408). Manchester/New York: Manchester University Press.
Author information
Authors and Affiliations
Corresponding author
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2019 The Author(s)
About this chapter
Cite this chapter
Maclean, D. (2019). Commission, Position and Production: Intent and Intervention in Minority Language Programmes. In: Batty, C., Berry, M., Dooley, K., Frankham, B., Kerrigan, S. (eds) The Palgrave Handbook of Screen Production. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-21744-0_2
Download citation
DOI: https://doi.org/10.1007/978-3-030-21744-0_2
Published:
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-030-21743-3
Online ISBN: 978-3-030-21744-0
eBook Packages: Literature, Cultural and Media StudiesLiterature, Cultural and Media Studies (R0)