Bill Nichols three-part definition of documentaries is often the springboard for discussions about documentary practices and discourse. It was my first time encountering his ideas when I read the first readings for IM1. In particular, I was drawn towards his third statement about audiences and their expectations. I began thinking about my own assumptions that I bring with me when engaging with documentaries, and media in general.

Do I expect that I will be entertained? Educated? Enriched? Do I approach the artefact with any pre-existing opinions? Will I love it/hate it? Will it make me laugh/cry/cringe?

Recently a friend recommended an episode of ABC’s Four Corners program called ‘The Boy With The Henna Tattoo’, which delves into the underground sex work ring operating in Australia. Her precursor to the recommendation was that it is harrowing, twisted and hard to watch. She told me that a few times she had to question whether or not it was right for her to keep watching. However, she said she was rewarded with one of the most interesting and insightful pieces of media she’d seen in some time.

I have a habit of watching countless documentaries on YouTube – often in quick succession in one sitting on a cold Melbourne evening. Some of my favourites are those produced by Vice. I find their distinct style and unique/unconventional topics and niche interests never fail to entertain me and keep me falling down and down the rabbit hole, click after click and link after link.

I wonder if my viewing experience will change if next time I click through to Vice’s YouTube channel and stop to think about what my expectations are before delving into the content. I almost think it’s a more exciting and interesting experience when you don’t acknowledge your expectations, and let things unfold without your picking up on them. Although that doesn’t necessarily mean that you’re not filled with expectations, it might just be the difference of paying attention to them in that moment which makes you cognisant of them.