Re-Forming vision. On the governmentality of Griersonian documentary film

© 2015 Taylor & Francis. This essay traces and discusses John Grierson\u27s programme for documentary film and its projected function and operation within liberal democracy. It is argued that documentary film as envisioned and propagated by Grierson neither set out to advance \u27open\u27 and/or controversial public discourse \u27from an Enlightenment standpoint\u27 (Rosen, Philip. 2001. Change Mummified: Cinema, Historicity, Theory. Minneapolis: University of Minnesota Press, 249) nor to educate its popular audiences through the dissemination of facts. As such Griersonian documentary film should be less located within the pedagogical tradition of the Enlightenment and was not to mainly function as a \u27discourse of sobriety\u27 (Nichols, Bill. 1991. Representing Reality: Issues and Concepts in Documentary. Bloomington: Indiana University Press). Rather, it was to insensibly shape subjectivities and agents by strategically arranging \u27visions of the real\u27. Documentary set out to model what Grierson termed \u27the subconscious\u27, the implicit framework that shaped citizen\u27s thoughts, desires, emotions and agency by which they governed their selves, others and by extension society at large into the future. Grierson\u27s documentary programme decisively governmentalised so-called non-fiction film as a specific technique of democratic government. It sought to render the formative and \u27creative\u27 aspects of its production transparent in favour of effect through affect by shaping appropriate visions for a reality yet to become. Thereby Grierson\u27s programme set out to strategically subjectify popular audiences/\u27ordinary citizens\u27 towards a desirable and \u27better\u27 national and global future

Documentary FILM

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The Griersonian tradition postwar: decline or transition?

. Issue 10: 3 of this journal, edited by John Corner and Martin Stollery, was partly devoted to the post-Second World War history of the British (that is, Griersonian) ‘Documentary Film Movement’. Its focus–posed in the title of their introductory essay–was to query whether the ‘Movement’ was in ‘decline or transition’ from the 1950s to the 1970s. Such a question, as they acknowledge, arises primarily because of the work of the BFI and its Senior Curator (Non-Fiction), Patrick Russell. The latter’s interest in the vast collection of sponsored documentaries in his care at the National Archive led him to conclude, in the light of the extensiveness of the postwar holdings of such films, that the received history of ‘decline’ made no prima facie sense. With John Taylor, he edited a valuable collection of essays on this ignored body of work, Shadows of Progress: Documentary Film in Post-War Britain (2010)

Precarious creativity: Changing attitudes towards craft and creativity in the British independent television production sector

This article focuses on television workers’ attitudes towards craft and creative practice within the field of factual television production in the British independent television production sector (ITPS). Based on longitudinal qualitative research, it argues that a radical shift has occurred in the professional values that television producers’ associate with their creative work, by focusing on ethical and professional norms within factual television production. By considering the historical and contemporary discourse of ‘craft’ within this area of creative work, the article interrogates the nature of the changes that have taken place. The wider significance of these changes is also considered, through an engagement with theoretical concerns about the place of craft within late modernity (Sennett 2006), and with debates about the changes that have taken place within the political economy of independent television production. The article’s findings have contextual significance within contemporary debates about creative work (Hesmondhalgh & Baker, 2010). Despite the celebratory policy rhetoric of the ‘creative industries’ (DCMS 1998), the transformed production environment within contemporary British television has had a detrimental effect on skills retention and development, as well as on the potential for creativity within the industry