The Rhetoric of the Eco-Documentary

 

Although many would argue that all texts, including documentaries, are inherently rhetorical, since they address an audience from a particular standpoint, historically, the rhetorical documentary presents an argument and lays out evidence to support it. In The Rhetoric of the New Political Documentary, however, Thomas W. Benson and Brian J. Snee assert, “The rhetorical potential of documentary film… relies not on an audience who merely provides the rhetor with resources that might be exploited in persuasion but instead on an audience who is actively engaged in judgment and action” (137). 

Audiences do not merely mimic the action on the screen, according to Benson and Snee. They interpret the actions documented, and invent and engage in acts of their own that respond to the film’s rhetoric, but from the viewer’s perspective. Some of our work examines this rhetorical potential in relation to food industry documentaries. The best of these eco-documentaries fulfill Paula Willoquet-Maricondi’s definition, “to play an active role in fostering environmental awareness, conservation, and political action…, that is, to be a member of the planetary ecosystem or ‘ecosphere and, most important, to understand the value of this community in a systemic and nonhierarchical way (10).” 

When taking a rhetorical approach, documentation of actions also seems to adhere to the criteria Karl Heider outlines for ethnographic filmmaking, when explaining, “the most important attribute of ethnographic film is the degree to which it is informed by ethnographic understanding” (5). According to Heider, first of all, “ethnography is a way of making a detailed description and analysis of human behavior based on a long-term observational study on the spot,” (6). Secondly, Heider suggests that ethnography should “relate specific observed behavior to cultural norms” (6). The individual narratives these films provide also support Heider’s third criteria for an effective ethnography: “holism” (6). These interconnected stories are “truthfully represented” (Heider 7) according to Heider’s final criterion for an effective ethnographic film, all in service to the films’ rhetoric.