Documentary filmmakers, whether they were producing histories for public television, nature programs for cable, or independent political documentaries, found themselves facing not only economic pressure but also close scrutiny for the ethics of their practices.Ĭontroversies emerged about several documentaries. The growth of commercial opportunities and the prominence of politics as a documentary subject also produced tensions. At the same time, documentary television production was accelerating to fill the need for quality programming in ever-expanding screen time, generating popular, formula-driven programs. documentary filmmakers had become widely respected media makers, recognized as independent voices at a time of falling public confidence in mainstream media and in the integrity of the political process. Filmmakers need to develop a more broadly shared understanding of the nature of their problems and to evolve a common understanding of fair ways to balance their various obligations.Ĭoncerns about documentary ethics are not new, but they have intensified over the past several years in response to changes in the industry. This study demonstrates the need to have a more public and ongoing conversation about ethical problems in documentary filmmaking. This survey demonstrated that filmmakers generally are acutely aware of moral dimensions of their craft, and of the economic and social pressures that affect them. They also lacked support for ethical deliberation under typical work pressures. They daily felt the lack of clarity and standards in ethical practice. In relation to viewers, they often justified the manipulation of individual facts, sequences, and meanings of images, if it meant telling a story more effectively and helped viewers grasp the main, and overall truthful, themes of a story.įinally, filmmakers generally expressed frustration in two areas. In relation to subjects, they often did not feel obliged to protect subjects who they believed had themselves done harm or who had independent access to media, such as celebrities or corporate executives with their own public relations arms. They commonly shared such principles as, in relation to subjects, “Do no harm” and “Protect the vulnerable,” and, in relation to viewers, “Honor the viewer’s trust.”įilmmakers observed these principles with widely shared limitations. At the same time, they shared unarticulated general principles and limitations. Their comments can be grouped into three conflicting sets of responsibilities: to their subjects, their viewers, and their own artistic vision and production exigencies.įilmmakers resolved these conflicts on an ad-hoc basis and argued routinely for situational, case-by-case ethical decisions. At a time when there is unprecedented financial pressure on makers to lower costs and increase productivity, filmmakers reported that they routinely found themselves in situations where they needed to balance ethical responsibilities against practical considerations. These interviews demonstrate, indeed, a need for a more public and focused conversation about ethics before any standards emerging from shared experience and values can be articulated.ĭocumentary filmmakers identified themselves as creative artists for whom ethical behavior is at the core of their projects. This baseline research is necessary to begin any inquiry into ethical standards because the field has not yet articulated ethical standards specific to documentary. It summarizes the results of 45 long-form interviews in which filmmakers were asked simply to describe recent ethical challenges that surfaced in their work. This study provides a map of perceived ethical challenges that documentary filmmakers-directors and producer-directors-in the United States identify in the practice of their craft. Professor of Law, American University Washington College of Law Click here to view or download a PDF of this report.Ĭo-director, Center for Media & Social Impact, American University
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