The documentary sequence has very different criteria for success than those of the dramatic sequence. Both must follow certain rules of editing to communicate with the audience, but beyond simple continuity, the differences far outweigh the similarities. As Karel Reisz suggested, "A story-film—and this will serve as a working distinction between documentary and story-films—is concerned with the development of a plot; the documentary is concerned with the exposition of a theme. It is out of this fundamental difference of aims that the different production methods arise."1
The production of the dramatic film is usually much more controlled than that of the documentary. The story is broken down into deliberate shots that articulate part of the plot. Performance, camera placement, camera movement, light, color, setting, and juxtaposition of people within the shot all help advance the plot. The editor pieces together the shots, orders them, and paces them to tell the story in the most effective way.
The documentary generally proceeds in the opposite manner. There are no performers, just subjects that the filmmaker follows. Camera positioning tends to be a matter of convenience rather than intention, and lighting is designed to be as inobstrusive as possible. Documentary filmmakers tend to adhere to their definition of a documentary: a film of real people in real situations doing what they usually do. Consequently, the role of the director is less that of the orchestra conductor than that of the soloist. He tries to capture the essence of the film by working with others—the cinematog-rapher, the sound recordist, and the editor. The documentary film is found and shaped in the editing.2
There are exceptions. Some documentaries are staged—Robert Flaherty's Man of Aran (1934), for example—and some dramatic films proceed in an extemporaneous fashion—John Cassavetes's Faces (1968), for example. Whether the staging of Flaherty's work made it less reliant on the editor is questionable.3 These crossovers have become increasingly notable with the docudrama work of Peter Watkins, Ken Loach, and Don Owen. The editor played an important part in those films.
In the documentary sequence, then, the editor has a crucial and creative function. Given the goals of the documentary, that function gives the editor more freedom than the editing of a dramatic film. With freedom comes responsibility, however.
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