Reflexive - This documentary style aims to gain an emotional, subjective response from the viewer. The voiceover (when present) is usually questioning and uncertain. It relies on suggested and implied meaning rather than the facts. Louis Theroux's documentaries are all reflexive but do share their conventions with other modes.
Observational - In this documentary mode there is location shooting carried out on handheld cameras, long takes dominate, there is lots of synchronous sound and it has no voiceover or interviews. The documentary-maker's presence is hidden and the subjects pretend that they are not being filmed. Luc Jacquet's March Of The Penguins is a good example of this mode.
Participatory - The documentary maker and crew interact with the subject, interviews dominate but they usually tend to be informal. Archive material is used throughout and location shooting is done with a handheld camera. Long takes dominate and there is usually a voiceover performed by the documentary-maker. Nick Broomfield participates and gets involved with the subjects in his documentaries and can often be seen in the final film.
Expository - In this documentary mode there is normally a voiceover which addresses the audience directly. It may either be the 'voice of god' (heard but not seen) or the 'voice of authority' (heard and seen). Images/footage used to ilustrate the voiceover. Editing is used for continuity and the aim of the documentary is to persuade the audience of a particular point of view. Michael Moore's documentaries are very expository.
Poetic - Documentary-maker gives subjective view and there is a particular mood/tone created. It is percieved as avant-garde and most situations are under-developed and can be left unsolved. Robert J Flaherty's documentaries are an example of this mode.
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