Documentaries, as a cinematic genre, have the power to illuminate, educate, and challenge our perceptions of the world. They serve as powerful tools of storytelling, propelling stories that were once obscured or distorted into the light. However, the approach to documentary filmmaking is not homogenous across the globe. And neither should it be. A single-minded perspective would provide audiences with a biased glimpse instead of a holistic view thus tainting the very definition of the cinematic brilliance that it stands for. While the core purpose of documentaries remains universal, there are distinct differences between the myriad of approaches to it — the most prominent one being the East versus the West.
The East and West are reflective of one another’s cultures, histories, and intellectual viewpoints, much like mirrors. One cannot exist without the other. For instance, white appears lighter and black appears darker when they are placed against one another. Now I am not attributing a particular colour to either the East or the West but I am sure, you must have already assigned meaning to the colours respectively. That is because of how each of these cultures has been represented in the media.
One of the most noticeable differences lies in the cultural outlooks embedded in Eastern and Western documentaries. Eastern documentaries often emphasise collective values, societal harmony, and the interconnectedness of individuals with their communities. They focus on the broader narrative of a society, weaving personal stories into a larger cultural context. In contrast, Western documentaries tend to celebrate individuality and idiosyncratic narratives. The emphasis is often on the journey of a single character or a small group of individuals, highlighting personal struggles and triumphs.
An excellent example is the Chinese documentary, “Up the Yangtze” (2007) directed by Yung Chang. The film captures the lives of individuals affected by the construction of the Three Gorges Dam, intertwining personal accounts with broader societal changes. This dual method of narration is a reflection of the collective worldview common in Eastern cultures, where people tend to view their events as having an impact on the fate of the community. On the other hand, Michael Moore's "Bowling for Columbine" (2002) is a notable example where individual stories are used as a lens to explore broader societal issues.
Another distinct quality that sets Eastern documentaries apart is their penchant for frequently employing contemplative techniques. The pacing is often slower, allowing us to absorb the nuances and dwell on the deeper meanings. Subtle messages are usually imbued through the use of visual metaphors and symbolism. Conversely, documentaries from the West tend to be fast-paced and dynamic. The narrative often unfolds rapidly, utilising interviews, voiceovers, and archival footage to maintain a high level of engagement.
To highlight societal issues which are frequently anchored in historical and cultural contexts, Eastern documentaries employ indirect critiques or allegorical descriptions. Their focus is to arouse curiosity and nudge the viewers towards introspecting. The Iranian documentary "This Is Not a Film" (2011), co-directed by Jafar Panahi and Mojtaba Mirtahmasb serves as a distinctive example. The film, shot clandestinely in Panahi's apartment while he was under house arrest, explores censorship and artistic expression in Iran.
Western documentaries often lean towards a more assertive style of storytelling, drawing attention to societal issues through investigative journalism and advocacy. They adopt a more confrontational stance towards power structures. Michael Moore's "Fahrenheit 9/11" (2004), does the same by scrutinising the presidency of George W. Bush and the aftermath of the 2000 U.S. presidential election. It challenges the people to question political decisions and the consequences of those decisions on society.
Understanding the differences between Eastern and Western documentaries provides us with valuable insights into the varied ways in which societies interpret and represent their lived experiences through the lens of filmmaking. After all, one cannot thrive without the other and are crucial to each other’s craft.