比尔·尼克尔斯在给纪录片分类时指出,参与型纪录电影的形成正是基于拍摄者认识到无需掩饰自己同被拍摄者之间的亲密关系,也不需要在讲述故事或观察发生的事件时表现出似乎不在现场的样子。而让·鲁什、原一男这些导演则提出,由于电影制作者的在场而引发的故事和他们不在场时发生的故事是一样值得记录的。在让·鲁什提出的“真实电影”之后,我们看到日本导演原一男、美国导演迈克尔·摩尔和摩根·斯普尔洛克的纪录片中,已经不满足于温情脉脉的参与和介入,而是将自己的身体姿态强硬地横插在摄影机前,不仅仅用摄影机,而是用自身的行动来推动和完成其影片的构成。 Bill Nichols points out in the documentary that participatory recordings are based on the photographer’s realization that there is no need to hide his intimate relationship with the photographer or the need to tell a story or observe what happened It does not seem to be on the scene. And Jean Rush, the director of the original man, argues that stories due to the presence of filmmakers are just as worthy of record as the stories they were not in when they were present. After Jean Rush’s presentation of “Real Movie,” we see that in the documentary of the Japanese director, the American director Michael Moore and Morgan Spurlock, we are not content with the sentiments of involvement and involvement. Instead, Put your body posture rigidly inserted in front of the camera, not just with the camera, but to use their own actions to promote and complete the composition of the film.