Navigating visual ethics in impact documentaries
A Master’s Exegesis
“Visual ethics…
A study of how images and imaging affect the ways we think, feel, behave, and create,
use, and interpret meaning, for good or for bad. Visual ethics includes the study of how we create and use images in communicating with others and ourselves.” ~
Newton, 2004
Introduction
I had always been fascinated by how we tell stories, how films are able to demonstrate an idea by the visuals; no words just images. But I had also been enamoured with documentaries and stories revealing truth and how they do it. I had the opportunity to do a deep dive into the philosophy in a practical manner by making my capstone film River Town People.
Having a passion for social and environmental issues and how they are connected meant that I felt a strong desire to follow the story of one of the worst natural disasters to affect this country. I wasn’t entirely sure how I was going to approach this. After workshopping and reflecting over and over, I developed the borders of my film; an observational documentary following a family in their day-to-day would show a new perspective on disasters and reveal the magnitude of the aftermath.
Visual ethics came into question after I had watched a crime series that left me traumatised. I don’t mean in a hyperbolic sense. I had nightmares for weeks, and it left a long lasting impression. The filmmakers put their participant in a position that had me yelling at the television: How can they do that to him!
They made him listen to a recording of his sister being assaulted, an original tape sent to him by the perpetrator. It was highly triggering, and I could not believe what I was experiencing. Was this done to garner a dramatic response? To shock the audience? All the above?
This made me question the ethical considerations the production had put in place. I had already developed an ethical framework with my own participant Lucy for the upcoming filming which focused on consent and an opt out option if Lucy felt she was being impacted by the scene. This was an ongoing conversation.
So, when a violent piece of media was played with no follow up and no explanation, I was angered. It seemed the intention was to shock, not provide value to the narrative. When speaking with my mentors regarding this issue, I suggested that some sort of framework should exist to articulate what I had felt regarding consent and a clear lack of an ethical structure. I started my research and what I found was interesting parallels between impact films and visual ethics yet no set toolkit on how to apply visual ethics or a visual ethics framework for my film.
My intention wasn’t to hinder or protect people from violent imagery and media and it certainly isn’t to victimize the audience and participants by suggesting that triggering material shouldn’t be used. My aim is to have a list of considerations points and reflection points to limit how much shock value material is used in films with no purpose. This is how I developed the focus for this exegesis:
Navigating visual ethics in impact documentaries
Understanding my role as a filmmaker had become clearer and clearer throughout the course of this research and how I am able to ensure that my participants are supported throughout the production process. To unpack this, a certain level of comprehension on what visual ethics was in the context of documentary was key.
In chapter one, the source review breaks down a variety of key texts that inform and highlight what visual ethics is and how it is necessary to incorporate it into documentary films. The resources used for my research clearly articulate the importance of some form of ethical knowledge or consideration when making films, to acknowledge the exploitative nature of filmmaking and to ensure there are measures put into place to maximise the purpose of the film and story without compromising on the relationship with participant.
In the methodology chapter, I explore how Wallace’s creative Thinking Process assisted in my reflective and constructionist approach to my research and how using this model realised the structure of the toolkit.
Next, I reveal my own reflective experience and how it had influenced my film, and how my film was my research in practice, applying my knowledge and what my film revealed to me when I chose to omit archival footage.
Finally, the toolkit is available and is the product of my research in practice and my research in theory. The toolkit is a series of recommendations and reflective points that are not set out as a rule book but simply a guide.
Exegesis Chapters
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Source Review
What have experts written and said about visual ethics and documentary filmmaking? Here, I analyse sources and relate it to my own research and findings.
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Methodology
We explore what theoretical models I used for my research and how I have implemented them into my findings and the toolkit.
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Research Findings
Using a reflective approach, I take a deep dive into what I found through my research and how it influenced my work.
Navigating visual ethics in impact documentaries - a toolkit for documentary filmmakers
Part of my research was the formulation of a toolkit which is a structured list of recommendations that filmmakers and content creators can follow to be able to apply visual ethics into their work. This is a developing foundation with the hopes of it being a fully formed toolkit through research, practice, and implementation.
Official conclusion can be found at the end of the toolkit.