Marlon T. Riggs and the power of performative documentary

Abstract

This paper provides an overview of documentarian Marlon T. Riggs, a key figure in Black and gay art movements of the 1980s, and his filmography, focusing in particular on his use of the performative mode of address. His videos are frequently referenced by documentary theorists as exemplars of the performative mode first defined by film scholar Bill Nichols, which refers primarily to the use of embodied knowledge and a personal voice within the context of nonfiction filmmaking. This review draws from Riggs’ documentaries and various analyses of his cultural impact, and it explains and considers competing viewpoints within documentary film studies and, to a lesser extent, cultural studies about Riggs’ legacy. Two of his four feature films, Ethnic Notions (1986) and Color Adjustment (1991), are widely acknowledged as representative of the expository mode of address, characterized by the use of direct address and a clear rhetorical argument. Although they are less celebrated within cinephile circles, they are conventionally educational which makes them culturally significant. However, it is Tongues Untied (1989) and Black Is… Black Ain’t (1995) that are firmly positioned as performative, and their emotional and subjective value make their power as tools for social change clear. That these films were some of the first to portray Black, gay life in unapologetic terms also demonstrates their cultural significance and lasting impact, particularly on broadcast television. Riggs’ filmography is an important cross-section of documentary filmmaking and the culture of 1980s America from which it emerged, and its evolution provides valuable insight into the rise of the performative mode and self-representation in television documentaries.