Genre Research: Crime Documentary - Unveiling Criminals

Hi-yah! Today I am going to veer in a different direction by exploring Crime Documentaries. Initially, the idea of venturing into this genre didn't strike me, given the types of films I envisioned creating. However, when I sat down to watch House of Secrets: The Burari Deaths (2021), a crime documentary series, it clicked to me that this genre would suit my pitch better than I had anticipated. Crime Documentaries are true stories examined in immense detail. It is typical for the events leading to and aftermath of the crime to be explored along with all the legal proceedings. The factual accounts of the crime are given retrospectively. Crime documentaries are a subcategory of documentaries which are a broad term to explore non-fictional events or subjects. These films provide insight into the motive of the criminal, raise awareness on the subject, educate a wider audience, and can be a catalyst for change. There are a plethora of Crime Documentaries available to view online. Some include Mommy Dead and Dearest (2017), Capturing the Killer Nurse (2022), and Keep Sweet: Pray and Obey (2022). Alrighty, now to get into the makeup of these documentaries. 

Camera Angles, Movements, and Shots: 

• The duality of the documentary is only possible with a blend of camera angles. When focusing on the crime the majority is filmed at eye level to allow for a receptive line of communication between interviewees, interviewers, and audience. Nonetheless, high and low angles can be seen when combing through the evidence as power dynamics are developed in the story. There is little to no use of canted angles.  

• Camera movements in Crime Documentaries are more refrained than in the previous genres. During the interview segments, there is little camera movement. The only time the camera moves is during a reenactment or revelation within evidence. This can be seen by a dolly shot, tracking shot, or appropriate pan/tilt of the subject. Sometimes zooming is used to focus on specific details. Overall when movement is used it is to emphasize whatever is being moved. 

• Crime Documentaries mix factual evidence in the form of media with interviews to better equip their approach to unveiling a crime. When showing evidence of the scenes an establishing wide shot is used to show the location of crime to better provide context in the story. As the story progresses the interview segments use a mix of over-the-shoulder and close-up shots to hone in on specific details. When retelling the story the director used a point of view shot or reenactment shot. This is the most efficient way to tell a story. Notably, to add extra details inserts, cutaways, and static shots are sprinkled inappropriately. 

Sound:

• Sound in a Crime Documentary is not a vocal point as seen in the previous genres examined. Sound is used in a very natural way without provoking the use of unnecessary non-diegetic sound. Dialogue is the main source of information via interviews and testimonies. Voiceovers can be coupled with this by guiding the audience with obligatory context. Sound in this way brings forth depth while maintaining authenticity. Sometimes a voice recording or past phone call will be used as an alternative form of evidence. In The Tinder Swindler (2022) a voice memo sent to one of the victims was played to fully grasp the audience. This allows for a full immersion of our senses. Of course, certain artificial sound elements like music and ambient sound in the form of sirens or footsteps set the atmosphere of the crime and build tension. That’s why it is important to include these elements but they are not the focus of the film. 

Editing:

• Editing remains relatively basic in this genre. Since there is a lot of evidence the use of montages and reannements is vital. They can be displayed in the movie via inserts. To drive the story forward, dissolving and pacing direct the flow of information. Sometimes to enhance a certain piece of evidence, the editor will visually alter the evidence by “highlighting” the script but instead it is an advanced editing tool used to make an immersive exploration. 

Mise-En-Scene:

• Costumes are a minor detail within crime documentaries. Since facts are being recollected, many of the outfits are not predetermined as in other films. The interview segment is when the attire of the interviewees can be adjusted. Typically they dress in smart casual clothing and law enforcement officials or counterparts of the crime will dress in their proper uniforms to reinforce the accuracy of the story being told. Makeup is such a minor factor in Crime Documentaries that it can be disregarded to an extent. 

• Crime Documentaries explore dark themes so it is only appropriate if there is moody lighting. The use of a muted color scheme helps intensify the seriousness of the crime. Overall creating an overarching sulky feeling. This is well explored in Capturing the Killer Nurse (2022); the whole movie is taken in dark lighting with a color palette consisting primarily of blues, black, and gray. This makes sense considering how humans have the connotations that black is a color of death, gray is a sign of something grim, and blue can be viewed as sterile or unnatural. All of these perceived connotations align with the overarching mood the director was hoping to reciprocate. 

  
  

  

  An example of the color palette in Capturing the Killer Nurse (2022).

• Acting is especially important in the reenactments during the documentary. Actors must portray the scenarios of victims and suspects accurately to produce a credible film. A film that is made up solely of reenactments is The Gabby Petito Story (2022). Two actors act out all the events known to depict the story best. This made for an easy-to-follow yet accurate Crime Documentary. In the other parts of the documentary, a natural colloquial approach is used where acting is not prominent. 

• Props are vast in crime documentaries. All evidence can fall into this category. Some examples can be files, legal documents, weapons, handcuffs, and so on. They are typically extremely relevant to the case  

• The set of crime documentaries is split into two. The interview part is usually taken in the interviewees' office or a barren room which highlights what the speaker is saying. The evidential part takes place at the site of the crime which can vary based on case. Eminently, footage from courtrooms, interrogation rooms, and police stations is used and deemed a set but can be equally classified under evidence. For example, in Mommy Dead and Dearest (2017) there is a multitude of footage taken inside a police station at some sort of public appeal/press conference. 

  
  

  

  Some of the footage taken inside a police station. 
  Note: the officer is in uniform which can be deemed his costume. 
  

Crime Documentaries can for sure be jarring! Despite the overall unnerving side of crime documentaries they are psychologically immersive. It’s interesting to see the duality of incoherent actions put coherently. As for personal notions, this genre is diverse. The pairing of acting and interviews as evidence drives the plot forward uniquely. However, I must say out of all the genes researched, sound effects are the least prominent. I found that the use of dialogue was for more used sound devices. How it was done didn’t make for a film that was lacking something but I would like to play around with sound more. Notably, if I were to choose this genre I would have to change key features. The movies discussed can be lumped with true crimes but for my Final Task, I am not aligning with any criminal event. Therefore, I would produce a hyperrealistic crime to explore, similar to that in Criminal Minds (2005). This doesn’t necessarily hinder my ability to produce a movie from this genre but it would be an altercation. Nonetheless, I am still keen on using this genre in my Final Task. Now all I have to do is make a choice. Stay tuned to find out what I choose. I’ll be releasing my final decision on December 13th.