Since the emergence of observational documentary in the 1960s, it has refreshed the concept of documentary creation. Observational documentaries, or “direct films”, are based on the technology of camcorders and video tape recorders, which can hide the photographer behind the lens and the story, and exclude interpretation outside the picture. It advocates the full use of sports long lens, synchronous recording, coherent editing and other technical means, with a transparent, unmediated style, calmly watching the attitude, the complete reproduction of the actual events. The earliest observational documentaries can be found in American society in the 1960s, the civil rights movement, the anti-vietnam war, the women’s rights movement, the workers’ strike… The turbulent politics and society bring rich shooting subjects for observational documentaries. They presented the social problems in a real and objective way, so they got a good development.
Participatory documentaries emerged in the 1960s. The representative work is the Chronicle of Summer by Jean Rouch and Edgar Morin. This type of documentary does not obscure the presence of the director, on the contrary, it deliberately emphasizes the interaction between the director and the subject. Participatory documentaries participate in the cooperative relationship of mutual trust between the photographer and the interviewee, which is the biggest highlight of participatory documentaries. And the camera position changes when to be a listener in the situation; When to step out and be a thinker is the key to this type of documentary. The nature of the documentary is to show a way of seeing things, value the value of life, to stimulate the audience’s emotions to participate in, to think, to judge, the author through the image to convey ideas, ideas and attitudes to life. Therefore, in the process of reproducing the reality, a new role will be added, that is, the photographer. Poetic mode and observation mode hide the photographer. However, in fact, it is inevitable that the photographer intervenes in the scene and has some interference with the reality. When recording the material, people must also calmly face the energy generated by the camera. Instead, it increases the audience’s omniscient perspective and sense of participation.
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