Does acknowledgement of camera effect the form of the case study?

Link: https://vimeo.com/123546836

Another aspect of skate video form that I noticed when analysing the case study was the acknowledgement of camera. In the form of standard skate video the camera often operates from an observational point of view, refraining from participating with the situation but rather capturing the events from a ‘fly on the wall’ perspective. This functions as an element of realism as it would appear as if the captured situation would have occurred regardless of the addition of a camera. In other words, the camera does not influence the cause and effect chain of events captured. Regardless of the amount of camera acknowledgement in any video example, the cinematographer and camera will have an influence on the situation to some extent. However observational video form is designed to disguise any presence of camera. Being a hybrid of two forms, the case study also features elements of an information documentary, where the subject directly addresses the camera and the presence of the camera is therefore participatory, as opposed to strictly observational. This indicates a contrast between the two forms and intrigued me to explore what effect this technique had on the form of the video.

To do this, I made a sketch which contrasts two examples of the same event, captured once with the camera being clearly acknowledged and thus having a presence and participation in the event. As well as captured from an observational point of view, without any acknowledgement of camera. This clear contrast between the two clips simplifies the relationship camera acknowledgement has with narrative form. By acknowledging the camera, the situation becomes staged and any sense of narrative realism becomes lost. It instils doubt in the viewer’s mind about whether the events seen on screen are a result of the cameras influence and to what extent this alters the cause and effect unfolding of events. This is an important factor when considering the form of documentary video as it completely redefines how a narrative is communicated. Moreover, whether the acknowledged presence of the camera influences the form as opposed to an observational account of on screen events.

This sketch explores the dramatic difference between the effect created by the camera having a participatory as opposed to observational presence. Without acknowledging the camera, the footage appears more realistic in the sense that it wasn’t purely performed for video capture. This observational perspective correlates with the stylistic form of skate videos, however to address the camera suits informative documentary style. As the case study exists as a hybrid of both forms, this sketch explores how both methods can be used to create narrative structure. For example, it is clear that by acknowledging the camera, the narrative becomes structured through the lens of the cameraman himself and the influence of camera becomes the integral factor of the form. Whereas without acknowledging the camera, the narrative is structured in accordance to an observation of events. This creates a form undisturbed by the presence of the camera and appears as a more ‘real’ representation. As a hybrid video, the case study balances both techniques to utilise the effective elements of both styles.