The Blair Witch Project

Introduction

The blogpost this week for us is to find out the feminist film theory elements that could be found in the movie The Blair Witch Project, which is a documentary film written and directed by Daniel Myrick and Eduardo Sánchez in year 1999. By that, the goal of this post for me is to study about this movie, watch it, and get to know about what theory is used in it which showed the semantic and syntactic approach to genres for the film. Along my study of this film, by accomplishing my goal, I would also have an attempt to determine the documentary film theory elements that would be found in film by stating it out in the analysis section of my post.

Theory Discussion

Poetic

“The poetic mode is particularly adept at opening up the possibility of alternative forms of knowledge to the straightforward transfer of information, the prosecution of a particular argument or point of view, or the presentation of reasoned propositions about problems in need of solution. This mode stresses mode, tone, and affect much more than displays of knowledge or acts of persuasion. The rhetorical element remains underdeveloped.” (Bill Nichols, Introduction to Documentary, pp 103). Began in the modernism era, it is a way of representing reality via series of fragmented visuals and subjective impressions, incoherent acts and loose associations. Films of this mode breaks up time and space into multiple perspectives, denying coherence and accepting the unconscious, this mode stresses on fragmentation and chooses ambiguity as a prominent feature. For an example, a fighting scene that lasts for 10 minutes. It shows reality in a different way or in other words, in a more stylistic way.

 Expository

“Voice-of-God commentary and poetic perspectives sought to disclose information about the historical world itself and to see that world afresh, even if these views came to seem romantic and didactic.” (Bill Nichols, Representing Reality, pp 32-3). A disembodied and authoritative voiceover that is combined with a series of imageries, all aimed at being descriptive and informative. Films of this mode address audience directly, providing visible information in the imagery and unseen information in the voiceover. It is a classic mode and is now common in TV documentaries. Overall effect of this mode is objectivity, a direct and transparent representation.

Observational

An observational mode of representation allowed the filmmaker to record unobtrusively what people did when they were not explicitly addressing the camera…But the observational mode limited the filmmaker to the present moment and required a disciplined detachment from the events themselves. (Bill Nichols, Representing Reality, pp 33). There is no apparent intervention by the filmmaker in the filmed events. For an instance, there is no voice-of-god voiceover, no intertitles and no interviews. Films of this mode observe and record as the events unfold in real time, resulting in long takes and sound is recorded directly, establishing an intimate relationship with and a sense of the environment without manipulating and distorting the event, thus there’re no dramatic nor unusual moments; making films of this mode significantly known as direct cinema. Overall effect is a neutral and non-judgemental appeal.

Interactive

“Interactive documentary arose from the desire to make the filmmaker’s perspective more evident. Interview styles and interventionist tactics arose, allowing the filmmaker to participate more actively in present events.” (Bill Nichols, Representing Reality, pp 32-3).  The filmmaker’s presence is known to the audience by ways of the filmmaker interacting with the filmed interviewees Films of this mode allow the filmmaker’s presence to be felt by the audience via interviews, posing questions on/off screen as a mediator for interviewees and audience. His power over the documentary is clearly shown, via questions posed as well as editing. The overall effect of this mode exposes the process by which the documentary is made, instead of hiding it like the previous modes. Objectivity is very much restrained.

Reflexive

“Reflexive documentary arose from a desire to make the conventions of representations themselves more apparent and to challenge the impression of reality which the other three modes normally conveyed unproblematic.” (Bill Nichols, Representing Reality, pp 32-3). The filmmaker exposes the techniques employed for representation, challenging the documentary’s means of revealing the truth Films of this mode focuses on film properties and filmmaking process, reminding and informing audience, besides the represented issue, that they are also watching a film that is attempting to represent reality. Overall effect of this mode is lack of objectivity which does not necessarily compromise the impact of documentary but instead, provide more valuable views of the issue at hand.

Performative

“Performative doc. (1980s – 90s): stress subjective aspects of a classically objective discourse. - Possible limitations: loss of referential emphasis may relegate such films to the avant-garde; ‘excessive’ use of style.” Bill Nichols, Blurred Boundaries, pp 95 direct reference to the issue at hand is marginalized while poetic & expressive aspects of film are emphasized. The world is not captured like other modes traditionally do but instead represent it indirectly Films of this mode evoke mood/atmosphere found in fiction films, representing of subject matter stylistically, evocative and expressively. Overall effect of this mode is lack of objectivity, aimed at encouraging audience to experience and feel the events while making audience question the integrity and accuracy of the filmed events

Synopsis

This is a film about three film students, Heather Donahue, Joshua Leonard, Michael C. Williams are trying to film a documentary film about a local legend, The Blair Witch. In order to film this documentary, they had to travel to Burkittsville, Maryland and go into the woods on a two days hike to find the witch. As the sun goes down, they realise that they had lost in the woods. After that, they have gone missing one by one in the woods. One year later, the students' film and video were found in the woods. All the footage was combined and made into this film.

Analysis

First is the performative mode where it trigger the emotional of the audiences toward the film. It aimed to let audiences to feel the reality of the film. For example, when Heather, Mike and Josh were lost in the woods , they were very angry and frustrated toward Heather since she is the one leading the way in the woods. But she also felt guilty and started to cry in the film. This can touch the emotion of the audiences. Next mode is the interactive mode. This mode helps to make the presence of the filmmaker can be felt in the film. This mode is applied by using interviewing. We can see the filmmakers in front the screen interviewing those interviewees. By using this way, filmmakers and the audiences can be actively participate in it. For example, in this film, they do the interview with the people who live in Marybrown. When one of the woman was describing the blair witch, Heather is the person throwing the ideas to the women when she is answering the questions. Besides that, this movie is also a reflexive documentary film. For example, we can hear the sound of them running and panting when they heard little children playing outside the tent. The camera was unstable and we can see the three students shooting each other with their cameras. This reminds audience that they are watching a film that represents reality, but whether it is truthful or not, it is up to the audience to decide.  Another scene is where you can see Heather shooting herself while talking and crying, it does not hide the fact that she is filming herself.  

Conclusion

Overall I think this film is quite worth it for me to watch because I get to learn something from the film and I am able to know there are quite variety of films such as Blair Witch Project that existing out there.