Bill Nichols, an American documentary theorist distinguished between documentary styles subsequently creating the 6 modes;
Poetic
Expository
Participatory
Observational
Reflexive
Performative
Nichols identified certain visible traits in documentaries which were used by the documentary maker. The 6 modes are like sub-genres of documentaries.
A poetic documentary is usually a montage of photos that create meaning. Often music is used as the main audio, sometimes combined with a voice over. An example of a poetic documentary is Samsara. This is a montage of photos and footage took over 5 years in 25 different countries exploring the hidden atrocities of the mass meat market.
An expository documentary constructs a specific point of view for the audience and is the most familiar type of documentary. Frequently used in nature documentaries, these documentaries use the 'voice of God' narration, with scripted commentary. Generally it uses a resonating, authoritative voice. An example of an expository documentary is March of The Penguins. In March of The Penguins Morgan Freeman commentates over the footage of the penguins trying to survive during mating season.
An observational documentary is when the filmmaker lets the camera capture the subject uninterrupted to observe the truth. Therefore the filmmaker has no effect on the events and just record what happens. In this type of documentary there is long takes, no voice overs and footage is normally captured using a hand-held camera. An example of an observational documentary is Saving Face, as it does not include the filmmaker, they are just watching the story unfold.
A participatory documentary is when the filmmaker engages with the subject and becomes a part of the events that are recorded. The filmmakers impact is acknowledged and often celebrated by the audience. An example of a participatory documentary is Louis and The Nazis, as Louis stays with and interacts with the Nazis, becoming a part of the events, such as attending a rally, but we also acknowledge that Louis does not share the views of the subject.
A reflexive documentary is about the relationship between the filmmaker and the audience. It is similar to the participatory mode, showing the involvement of the filmmaker and usually the cameraman, except the filmmaker is not involved in the events. Often the camera or production staff are shown to call attention to the conventions of film making and present self-awareness to eliminate biases about the documentary's content or agenda. An example of a reflexive documentary is Biggie & Tupac (2002) which sees the filmmaker and cameraman explore the tragedy of the two rappers.
A performative documentary is more personal to the filmmaker, sharing their personal experiences and feelings. Also, it relies on a subjective lens, portraying truth as relative. The filmmaker shares their experiences to create an emotional response and encourage the film's agenda. An example of a performative documentary is Kintsugi as it is a personal documentary from the director. Another example is Super Size Me as the filmmaker records his experience of eating solely McDonald's for 30 days.
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