English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

Bill Nichols’ “modes” theory of classifying documentary films by describing them in terms of poetic, expository, observational, participatory, reflexive and performative “modes” is well established as an analytical model. Nichols’ mode taxonomy is generally used to broadly describe the predominant mode present throughout a film and therefore operates at a macro level. It is proposed, however, that Nichols’ concept of modes is also applicable at a micro level. By this is meant that in-depth scene-byscene analysis is also possible in terms of Nichols’ modes in order to better understand the film structure and the director’s vision. To demonstrate the proposed approach, Nichols’ theory of modes is used to analyse the structure of two recent films Ai Weiwei: Never Sorry (Klayman 2012) and Helvetica (Hustwit 2007) by categorizing scenes in terms of modes. It is shown that this empirical approach is useful for filmmakers and film critics and justifies the influential position of Nichols in film theory.

Mapping Nichols’ Modes in Documentary Film – Ai Weiwei: Never Sorry and Helvetica