Film #11: Quarantine (2008)

Introduction

The purpose of this essay is to determine and analyze which mode the film “Quarantine”  directed and co-written by John Erick Dowdle uses to be considered as a part of documentary.

Theory Discussion

Documentaries are filmed events that are not staged. It provides an authentic look. Documentaries are non-fictional motion films, thus they depict not imaginary but real events. Documentary filmmakers are assumed to observe the events and make objective records of the events.

There are six modes of documentary modes suggested by Bill Nichols. Documentaries should be looked at via certain techniques selected by the filmmakers when they record the events. Modes are a way of determining the common concepts and themes of the various documentary styles. It is the way how they represent the documentary.

The first mode is poetic. According to Katherine Selway (2017), Nichols stated in his book that the poetic mode “moves away from the ‘objective’ reality of a given situation or people, to grasp at an “inner truth” that can only be grasped by poetical manipulation”. According to Oakley Moore (2015), a poetic documentary does not use continuity editing. Instead of using continuity to create a structure, the filmmaker arranges the footage in an order to stimulate an audience association through temporal rhythms, spatial juxtapositions and tones. It is to emphasize on the visuals to show the audience a subjective, abstract representation of reality. Bill Nichols (pp.103) stated that “this mode stresses mood, tone, and affect much more than displays of knowledge or acts of persuasion. The rhetorical element remains underdeveloped”. Examples of poetic documentaries are Samsara created by Ron Fricke in 2011 and Koyaanisqatsi (1982) which is directed by Godfrey Reggio.

Secondly, the expository mode is the most familiar to the audience. It often uses in nature and TV documentaries. It is where the “voice of God” narrates directly to the viewer by using voiceover or subtitles to construct an argument or the point of view of the viewer. Sometimes, according to Peter Biesterfeld (2015), they are referred as essay films because their primary focus is to education their audience and to explain their subject such as events, issues, ways of life, worlds and exotic settings that we know little about. This mode is famously seen in documentaries narrated by David Attenborough, informing the audience of what they are currently seeing on screen. This kind of documentary focuses on facts rather than on opinion or emotion. For example, Frozen Planet (2011) narrated by David Attenborough and March of the Penguins (2005) directed by Luc Jacquet.

The third mode is observational mode. This documentary mode is probably the most analysed mode among the others. It is referred to as cinema verité, direct cinema or fly-on-the-wall documentary is more of a specific type of documentary storytelling. It allowed the filmmaker to record unobtrusively what people did when they were not addressing the camera. It also “limits the filmmaker to the present moment and required a disciplined detachment from the events themselves”. (Bill Nichols, Representing Reality, pp33) Due to advance in technology, sound and camera equipment became easier and lighter to use and move around. The concept of cinema verité is to view without any involvement or influence such as no voice-of-god voiceover, no intertitles and no interviews, which is the best way to see truth. If the footage is often raw, shaky and jumpy, it is known to be a “fly-on-the-wall”. Some examples of observational documentaries are Armadillo (2011) directed by Janus Metz Pedersen, Don’t Look Back (1967) directed by D.A. Pennebaker and Salesman (1969) directed by Albert and David Maysles and Charlotte Zwerin.

The fourth mode is the interactive mode is also known as participatory mode. This mode aims to show audience the filmmaker’s presence interacting with the filmed interviewees. It often present the filmmaker’s viewpoint. The overall effect of this mode exposes the process by which the documentary is made, instead of hiding it like the previous modes. The objectivity of the documentary is inhibited. Examples of interactive documentaries are Icarus (2017) directed by Bryan Fogel, Aileen Wuornos: The Selling of a Serial Killer (1992) directed by Broomfield and Bowling for Columbine (2002) directed by Michael Moore.

The fifth mode is reflexive mode. Bill Nichols said that reflexive mode is made to provoke audiences to “question the authenticity of documentary in general”. It exposes the techniques employed with representation, challenging the documentary’s mean to reveal the truth. This focuses on the film properties and filmmaking process, reminding and informing the audience, that they are watching a film that is attempting to represent reality. Sometimes, mockumentaries can be under the reflexive mode due to their self-awareness. For example, Exit through the Gift Shop – Bansky (2010) and The Man with a Movie Camera (1929) directed by Dziga Vertov.

Lastly, it is a documentary in performative mode. It is also known as 

docudrama/docucomedy/mockumentary. It is the direct opposite of observational mode. It is direct to the issue at hand is marginalized while poetic and expressive aspects of film are emphasized. The world is not captured like other modes traditionally do but instead represent it indirectly. The filmmaker shows the reality through the subject’s own experience. Performative documentaries tend to be emotionally driven and may have motivation aspects. Super Size Me (2004) directed by Morgan Spurlock, Catfish (2010) directed by Ariel Schulman and Henry Joost and Night and Fog (1956).

Synopsis

Quarantine (2008) is an American found-footage horror film directed and co-written by John Erick Dowdle. Reporter Angela (Jennifer Carpenter) and her cameraman Scott (Steve Harris) are shooting a reality TV program on firefighters. On that night, a call brought them to a Los Angeles apartment building, where there are reports of screams. They went up to Mrs. Espinoza’s room (Jeannie Epper), then she began to attack with biting. Later, the building was sealed by CDC (Centre of Disease Control) workers. The spreading of disease starts.

Film Analysis

Quarantine (2008) was a remake of REC in United States, which is a 2007 Spanish film by Jaume Balagueró and Paco Plaza, approaching a horror universe located in a real building in Barcelona. Quarantine is categorized under performative mode which is mockumentary. It is a type of movie that depicts fictional events but presented as a documentary. This movie was a scam as there are no cannibals in the world. It challenges the beliefs of the audience as it was just an imagination to the director.

There are scenes that are zoomed in to shoot the cannibals attacking human. A lightweight and portable camera is used to film Quarantine. There is no background music used, instead there are sound effects. This film looks real because it uses documentary codes. Subjects are aware of the camera and they will often speak to it. Interviews are made throughout the movie. For example, Angela interviewed the firefighters before they leave for the apartment building. These interviews made the film more real. This creates the documentary feel.  

Conclusion

In conclusion, there are six modes of documentary proposed by Bill Nichols. Quarantine is considered a documentary under the performative mode of documentary. It is a mockumentary categorized under performative mode. I think this movie is with a lot of thrills and chills.

References

1)     Selway, K. (2017, August 29). Bill Nichol’s 6 Modes of Documentary. Retrieved from https://www.lift-off-festivals.com/bill-nichols-6-modes-documentary/

2)     Moore, O. (2015, September 17). Nichol’s 6 Modes of Documentary Might Expand Your Storytelling Strategies. Retrieved from https://nofilmschool.com/2015/09/nichols-6-modes-documentary-can-help-expand-your-storytelling

3)     Bill Nichols. Introduction to Documentary. Pp 99-137.

4)     Biesterfeld, P. (2015, November 13). Six Primary Styles of Documentary Production. Retrieved from https://www.videomaker.com/article/c06/18423-six-primary-styles-of-documentary-production

5)     Bill Nichols. Representing Reality. Pp 32-33.