The relationship between documentary subject and documentarian has been fraught with conflict since the genre’s evolution beyond “actualities” and into a narrative format pioneered by Robert Flaherty. Interrogating what it means to become a “subject” in a documentary film that ultimately takes on a life and a folklore of its own, Jennifer Tiexiera and Camilla Hall have created an essential exploration of ethics with Subject.
It’s a code of ethics that some of the film’s scholars, critics, and festival programmers argue is needed more than ever in an era when nonfiction content is more in demand from all major streamers. For some, their story grows over time—like Margaret Ratliff, who as a teen agreed to participate in a documentary about the death of her mother and the murder conviction of her father, novelist Michael Peterson. She originally agreed to participate in the series to support her
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It’s a code of ethics that some of the film’s scholars, critics, and festival programmers argue is needed more than ever in an era when nonfiction content is more in demand from all major streamers. For some, their story grows over time—like Margaret Ratliff, who as a teen agreed to participate in a documentary about the death of her mother and the murder conviction of her father, novelist Michael Peterson. She originally agreed to participate in the series to support her
