Nichols Ch 6 (p 125-131: The Reflexive Mode)

Reflexive mode seems to be sprinkled into a lot of documentaries. There are some documentaries that seem to rely on that more heavily than others, but the subtle uses of the reflexive technique can be powerful. I worked on a show that the director instructed a worried camera operator to not be concerned with getting the other camera in a shot. In fact, he added to make sure there were shots with the other camera in it. That same show also showed the movement of internal ND filters. Both of these were avoided when possible, but during chaotic scenes in which those became inevitable, the show did not back away from using them in the final cut. Consequently, the feelings of chaos and the acknowledgment of the camera helped the audience feel the authentic excitement and performative nature that was happening.

How does reflexive practices work in scripted films that are not mockumentary?

How have reflexive documentaries been received since the streaming era?

Do documentaries need to be exclusively reflexive?

Are reflexive documentaries always somber, tackling difficult subjects?

Is this question a reflexive question if I make it meta?