The Story of Documentary Film (The 1980s) review – Mark Cousins educates and intrigues once more

Mark Cousins’ 'The Story of Documentary Film' Explores 1980s Cinema with Depth and Insight

The Story of Documentary Film The 1980s - Mark Cousins’ *The Story of Documentary Film* has returned with its latest chapter, offering a fresh perspective on the 1980s—a decade that reshaped the documentary landscape through bold storytelling and societal reflection. This installment, part of the broader series, continues Cousins’ tradition of weaving historical analysis with emotional resonance, inviting viewers to revisit the era’s most influential films. The 1980s were a time of upheaval and creativity, and Cousins’ work captures the duality of these forces, proving once again that documentary is not just a medium but a mirror to the human condition.

Chapter Eight: Walls and the Power of Connection

Chapter Eight opens with the haunting image of Checkpoint Charlie, a symbol of the Cold War’s rigid boundaries. Cousins uses this as a framing device to explore how documentaries of the 1980s often sought to break down walls—both literal and metaphorical—between individuals and ideologies. By anchoring the chapter in this iconic location, he underscores the era’s focus on empathy as a tool for change. Films from this period, he argues, were not just about documenting reality but about challenging viewers to see beyond their own perspectives.

"Something there is that doesn’t love a wall," Frost wrote, and Cousins seems to echo this sentiment in his portrayal of documentaries that questioned the status quo. Whether through the lens of a dissident filmmaker or a grassroots activist, these works aimed to bridge divides, to provoke understanding, and to reveal the shared humanity that underlies even the most polarized societies. The 1980s, with its political tensions and cultural shifts, provided fertile ground for such narratives.

The chapter also highlights the 1980s’ cultural dynamism, drawing parallels between the decade’s artistic expressions and its social movements. From the rise of music-driven storytelling to the use of personal narratives to critique institutional power, Cousins’ approach remains both scholarly and accessible. His ability to blend historical context with contemporary relevance ensures that *The Story of Documentary Film* remains a compelling guide through this transformative era.

Chapter Nine: Truth-Telling and the Role of the Documentary Auteur

Chapter Nine, titled “Detectives,” delves into the rise of investigative documentaries that demanded accountability from governments, corporations, and individuals. Cousins examines how filmmakers like Marcel Ophuls, Claude Lanzmann, and Michael Moore harnessed the power of the medium to expose truths that had been obscured by time or politics. The episode includes a playful nod to television, comparing the meticulous methods of Columbo to the documentary auteur’s quest for clarity, illustrating the evolving relationship between film and other media in the 1980s.

“What is a documentary?” asks Cousins, weaving in a quote from Abbas Kiarostami’s *Homework* (1989), where a child is asked if he prefers homework or watching the whimsical *Wombles* on TV. The scene becomes a metaphor for the tension between responsibility and escapism, a recurring theme in *The Story of Documentary Film*’s exploration of the decade. These films, Cousins argues, were not merely about reporting facts but about shaping how audiences engage with the world.

While the chapter is centered on the pursuit of truth, it also reflects on the 1980s’ legacy in documentary storytelling. Works like Jan Troell’s *Land of Dreams* (1988) and Juris Podnieks’ *Is It Easy to Be Young?* (1986) exemplify how the decade’s documentaries captured both the spirit of rebellion and the emotional complexity of human experiences. Cousins’ selections, rich in detail and insight, showcase the diversity of voices that defined the era’s cinematic output.

Form and Function in the 1980s Documentary Scene

Cousins often teases the line between film and television, a debate that surfaces in this installment. He questions how many of the films featured were originally intended for the cinema, and whether their impact was shaped by the medium’s reach. While the series’ title suggests a focus on film, the 1980s’ documentary landscape was deeply intertwined with television, which played a critical role in amplifying voices that might have otherwise gone unheard. This duality is a central theme in *The Story of Documentary Film*’s analysis of the decade.

Despite this, Cousins does not dismiss the cinema’s unique power. He acknowledges the immersive quality of the big screen, which allowed filmmakers to craft experiences that lingered beyond the final frame. The 1980s saw a proliferation of documentaries that balanced poetic visuals with hard-hitting social commentary, proving that the medium could serve both as a tool for education and a catalyst for emotional engagement. This duality is what makes the series so compelling, even as it navigates the evolving identity of documentary storytelling.

The Legacy of the 1980s in Modern Documentary Practice

As *The Story of Documentary Film* reaches the 1980s, it invites reflection on how this decade’s innovations continue to influence contemporary documentary practices. The films examined here—whether through their focus on political dissent, cultural identity, or personal narrative—reveal a common thread: the belief that documentaries can transcend their medium to inspire action and introspection. Cousins’ work, as always, challenges audiences to think critically about the stories they consume, ensuring that each chapter remains both informative and thought-provoking.

The series’ exploration of the 1980s also highlights the role of documentaries in shaping public memory. Films from this period, Cousins argues, were not just records of events but active participants in the dialogue around them. By re-examining these works, *The Story of Documentary Film* reaffirms their enduring relevance, demonstrating how the decade’s cinematic achievements laid the groundwork for future generations of filmmakers. This chapter, like all others, is a testament to the power of the documentary form to connect past and present through the lens of shared human experience.