In this blog post, I’ll explore how documentaries and feature films are intertwined and influence one another.

The Meaning and Dramatic Nature of Documentaries

The term “documentary” translates to “record” in Korean. In other words, a documentary refers to a specific part of reality captured on camera. That part can be seen as a condensed version or summary of the world the director wishes to present.
For example, consider a film like ‘Titi Cut Polly’. This film does not merely address abuse within a mental hospital. While the setting—a mental hospital—naturally places the events inside the facility at the center, the director selected those scenes because he judged that the situations captured there accurately reflected various aspects of contemporary society—oppression, surveillance, and the hypocritical attitudes of the majority toward minorities. The events within the mental hospital serve to dramatically reveal society’s hidden realities.

Redefining the Documentary

Therefore, strictly speaking, a documentary should be “a cross-section of reality with a condensed nature capable of reflecting the real world, and an engaging representation that can take on a dramatic character.” In other words, documentaries inherently possess a certain degree of dramatic quality. After all, documentaries are also visual media, and the way people perceive them is not significantly different from how they perceive feature films.

On the Interrelationship Between Feature Films and Documentaries

Conversely, does every feature film contain documentary elements? Since the criteria are ambiguous, it is difficult to say for certain. What is certain, however, is that the development of film began with simple documentation and gradually transitioned into the complex form of feature films. Early films were closer to documentaries. Although films with expressive styles also emerged, at the time, they still strongly emphasized the aspect of documenting expressive acts.
Ultimately, narrative film originated from documentary and took on a complex character as it merged with literature, theater, and the visual arts; therefore, it can be said that traces of documentary remain in today’s narrative films. However, unlike documentaries, which can take on a dramatic quality, it is uncommon for documentary-style techniques to appear in narrative films. This is because what people want to see in theaters is not reality itself, but rather a constructed reality—that is, a dramatic form capable of capturing the audience’s attention.

The Adoption of Documentary Methodology in Feature Films — Handheld and Long Takes

One of the filming techniques usefully borrowed from documentaries is the handheld technique. Early cinema did not feature handheld cinematography in the true sense, and it is highly likely that its true origins lie in the attempts of cameramen to document war. The way the camera shook while recording dynamic situations created a sense of urgency and realism, making it well-suited for the documentary’s unique ability to capture fleeting moments of reality.
Later, handheld cinematography evolved into a beautiful form under Eastern European directors who emphasized the flow of emotion and rhythm; however, their movements were calculated and dance-like, quite different from the realistic, spontaneous capture of reality. On the other hand, there are directors, such as the Dardenne brothers, who use handheld cinematography with great precision as a means of conveying urgent reality. For example, the way the opening scene of ‘Rosetta’ conveys the girl’s closed-off heart and tense state of mind solely through the camera’s tracking movement is an example of the combination of documentary-style capture and dramatic expression.

The Use of Non-Professional Actors

Documentaries typically feature no actors, or if they do, the focus is on the subject themselves. Because of this legacy, feature film directors have utilized the sense of otherness provided by non-professional actors, as well as their natural movements that seem unconcerned with the camera.
Robert Bresson’s ‘Mouchette’ is a classic example; by casting an actor with absolutely no acting experience, he achieved the effect of capturing her very existence rather than her performance.

The actress is stiff and has few lines; as the camera follows her, the audience observes her. This approach creates the effect of natural acting through the transitions between shots.
In contrast, Pasolini’s ‘Salo, or the 120 Days of Sodom’ mixes non-professional and professional actors to simultaneously evoke awkwardness and shock. The awkward reactions of non-professional actors prompt the audience to reflect not so much on the cruelty itself, but on why it is being depicted and what the film is trying to convey. This approach is similarly evident in Fassbinder’s works.

Point of View and Camera Perspective

In narrative films, the camera often tends to conceal its presence. This is because audiences want to connect with their own intimate desires and immerse themselves by hiding behind the camera. In contrast, the point of view in documentaries often aligns with the director’s gaze, sometimes revealing the director’s presence.
Drawing inspiration from this, some directors blend documentary-style and narrative film perspectives. For example, in Kieslowski’s works, there are moments when the characters’ gaze aligns with the camera, and scenes where characters appear from behind the camera, creating a subtle emotional tension as the film shifts between reality and fiction. This approach offers the audience a mysterious and challenging experience.

Hybrid Mockumentaries and Horror

Hybrid mockumentaries are widely used in contemporary cinema. In some cases, like ‘District 9’, they serve as satire on reality, while in others, such as ‘Paranormal Activity’ and ‘The Blair Witch Project’, they adopt a documentary-style format to heighten the sense of horror. Because footage with a documentary-like quality appears real, the sense of fear feels deeper and more realistic.
“District 9” indirectly critiques the absurdities of modern society through satire, leaving viewers with a stronger sense of social awareness than a direct documentary would. Audiences consume the film for entertainment, and as a result, they are prompted to reflect on the social issues it addresses.

The Documentary Quality of Feature Films Addressing Real-World Issues

In feature films that address real-world issues, the documentary-like quality is even more pronounced. The approach evident in Korean social issue films of the 1970s and 1980s was realism, which sought to depict the lives of marginalized groups in a realistic manner. For example, films about families living in homes slated for demolition made an effort to show actual environments rather than sets, emphasizing that this was reality, not fiction.
A contemporary example can be found in the works of China’s Sixth Generation directors. They tend to present the lives of marginalized people as they are, excluding dramatic conventions and emphasizing realism and spontaneity. Jia Zhangke’s films even insert unexpected scenes to prevent the audience from viewing marginalized groups from a position of superiority. Such films straddle the boundary between documentary and fiction, either adopting documentary techniques or sharing its purpose.

Conclusion and Reflection

There are undoubtedly many other factors related to the relationship between fiction films and documentaries. Perhaps drawing a clear line between them is meaningless in itself. However, exploring the relationship between documentary and fiction provides a valuable opportunity for deep reflection on the relationship between reality and film.
I believe that in the process of grappling with the fundamental question—whether film is documentation or creation—without having yet arrived at a definitive answer, I can develop a deeper understanding and my own unique aesthetic. In any case, as I conclude this essay, I am once again reminded that what I need most—even before creativity—is a serious contemplation of film itself.