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Expository Mode

BTEC MEDIA FACTUAL PRODUCTION
by

Mavish Mehmood

on 25 May 2011

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Transcript of Expository Mode

Factual production Expository Mode Definition: Expository documentaries are documentaries that expose a person or a topic. It is a classic form of documentary, one of the four main types. They are nonfiction and emphasizes verbal commentary and argumentative logic Codes and Conventions The main conventions of expository documentaries are:
A commentator- Voiceover to commentate or narrate what is happening in the images or video clips.
Commentator is usually a confident male voice called "The Voice of God"
Editing is used to make the images link together and so that it goes with the commentary that is being said over the images.
Facts
Opinions
Persuasive techniques
Images are used to illustrate what is happening.
Rhetorical questions are used to allow viewers to think about the question that is being asked.
Interviews are used to back-up the arguments.
The narrator reads any text that appears on the screen, such as the contact details. History This is one of the oldest forms of documenatry This mode first emerged in the 1920's and their main aim generally is to persuade the viewer. Other information This mode uses a narrator to directly address its audience. and to present explanation, interpreting what they see on the screen. Examples Big Brother on Channel 4 uses "The Voice of God" which is a confident strong male voice to to narrate the show. Narrations may not be seen visually, but the audience but the audience still accept the narration as authoritive meaning correct. Occasionally documentary narration may be shared between a range of people. this appraoch is often used in documentaries such as Emergency 999 and Crimewatch (BBC), where experts, witnesses and participants may narrate. This shows the audience different percepectives on the same incident. By Mavish Examples: TV shows and films like A&E Biography; America’s Most Wanted; many science and nature documentaries; Ken Burns’ The Civil War (1990); Robert Hughes’ The Shock of the New (1980); John Berger’s Ways Of Seeing (1974).
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