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Documentary Tensions and the Filmmaker in the Frame

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Documentary Tensions and the Filmmaker in the Frame Documentary tensions and the Filmmaker in the Frame By Trent Griffiths BA, Grad Cert Film Video Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Deakin University November 2014 Abstract This thesis examines in detail three films in which the filmmaker is present within the frame: Werner Herzog’s Grizzly Man (2005), Anna Broinowski’s Forbidden Lie$ (2007), and Jafar Panahi’s This Is Not a Film (2011). Each of these films offers a distinct insight into the conceptual tensions that arise when a filmmaker is framed as both a specific subject and the author of the film. On this basis the thesis proposes a significant category of contemporary documentary – here called the Filmmaker in the Frame films – of which the three films analysed are emblematic. Defining this category brings to the fore the complex issues that arise when filmmakers engage with their own authorial identity while remaining committed to representing an ‘other.’ Through detailed textual analysis of these documentaries the thesis identifies how questions of authorship are explicitly shown as negotiated between the filmmaker, the people they film, and the situations in which they participate. This negotiation of authorship also reveals the authority of the filmmaker to be constructed as a particular kind of performance, enacted in the moments of filming. In order to analyse the presence of the filmmaker in these films, the thesis draws together Stella Bruzzi’s notion of documentary as the result of the ‘collision’ between apparatus and subject, and Judith Butler’s notion of the performativity of identity. The idea that documentaries might propose forms of negotiated and performed authorship is significant because it disturbs the theoretical opposition between subjectivity and objectivity that underlies dominant discourses of documentary. Instead, in the case of Filmmaker in the Frame documentaries, the filmmaker’s subjectivity is shown to be inseparable from the ‘objective’ truth of the reality produced and recorded by the filmmaking process. The intersection of subjectivity and authorship in these films is not entirely captured by theories that consider the filmmaker’s presence in terms of reflexive revealing, acting out an authorial persona, or autobiographical projects. The analysis of these three key Filmmaker in the Frame films demonstrates how each is uniquely structured around the filmmaker’s self-reflexive consideration of their iii own authorship. The thesis concludes that the respective tensions between subjectivity and authorship explored in these films are more usefully characterised as productive points of engagement with the world represented, rather than problems of documentary representation. By investigating how certain nonfiction filmmakers provocatively recast the relationship between subject/author and subjectivity/objectivity within their films, this thesis offers an original contribution to documentary studies. iv Acknowledgments So many people have given invaluable time, energy, and insight to bring this thesis to fruition, and lent support along the journey of my doctoral research. Thanks are due to Deb Verhoeven for believing in my initial idea, keeping that idea on track, and backing me as an academic from the first tentative steps; to Adam Brown for clarity, humour, wisdom, encouragement at just the right moment, and more than could be hoped for in terms of feedback; to Keith Beattie for so many insightful conversations and even more opportunities to flourish; to Sean Redmond for always reminding me of the joy and verve of scholarship; to Toija Cinque and Tony Chalkley for the first chance to teach and for being such positive influences; to Katya Johanson for care and guidance throughout the process; to Simon Wilmot, David Marshall, Chris Moore, Elizabeth Braithwaite, and all the other marvellous colleagues and students past and present who have made this experience so rich and rewarding. Thanks also to Deakin University for generous funding that has allowed me to travel to conferences and share my research, and Robyn Ficnerski for help in all things administrative. My enduring gratitude also goes to the community of research students who have become my village. Grady, I couldn’t dream of a sharper mind, better wit, or more generous spirit to share an office with. Thanks to Lara for laughter and grounding. To Kim for so many wise words and shared thoughts. To Louise for the calls and the messages and the sense of being in it together. To Deb and Tamara for being lights at the end of some rough tunnels. Special thanks to Tim, who, while long past being a student, remembered enough to be invaluable help. To my friends: thank you for keeping me sane, for being interested (or feigning it well enough), and for reminding me to laugh at myself, and hardly ever laughing at me. So many of the ideas in this thesis were shaped by conversations over coffee or wine, and my own mind would be so much narrower without you all. Lastly, to my family: thank you for unconditional love and support, and encouraging me to pursue this dream. Dad, this could only have happened with you in my corner. Mum, your strength and spirit kept me going. Patti and Dave, you are the best kind of people to have as family. And to Bek, thank you for now, and the rest of our lives. v Parts of this thesis have been published as: ‘Saying things without appearing to have said them: Politics and protest in Jafar Panahi’s This Is Not a Film,’ Studies in Documentary Film, Vol. 9 No. 1, upcoming 2015. ‘An argument across time and space: mediated meetings in Grizzly Man,’ Networking Knowledge, Vol. 7 No. 2, July 2014. ‘Representing history and the filmmaker in the frame,’ DOC On-line, Vol. 15, <http://www.doc.ubi.pt/15/dossier_trent_griffiths.pdf>, December 2013. ‘Representational eruptions: the filmmaker in the frame,’ Expanding Documentary 2011: Proceedings of the VIIIth Biennial Conference, Auckland: Vol. 1, No. 2, December 2011: Editorial and Peer-Reviewed Papers, Auckland University of Technology, December 2011. vi Table of contents ()')333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333 !$%,"#$)(3333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333+ "%%$)$)(333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333+ $)'%*)%$2"##!'5(&'($$)'#33333333333333333333333333333333333333333333< $%!#*!!& %#*% $! $.................................................................................> *! 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