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Borat: Controversial Ethics for Make Better the Future of Documentary Filmmaking Hannah Pangrcic This paper will explore the many criticisms of the film Borat and the flaws in the standards on which these criticisms were based. Drawing upon the expectations of documentary filmmaking as defined by scholars such as Calvin Pryluck and Jay Ruby, this paper will first introduce the subject of documentary ethics and then delve into Borat ’s position in relation to the defined ethical limitations. Rather than denounce the film along with its critics, this paper will use Borat as a conduit for a discussion of the greater issue of the ethical guidelines of documentaries and how they are currently ambiguous and unnecessary. Ultimately, this paper will argue that instead of defining more explicit guidelines, we should consider documentary filmmakers as artists and their documentaries as art, and allow them, within moral reason, the creative freedom that these titles imply. Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan, a documentary by Sacha Baron Cohen, does not simply cross lines; it plays hopscotch with them. In the film, renowned comedic actor and writer Baron Cohen plays the role of Borat, a news reporter from Kazakhstan who travels across America “to learn a lessons for Kazakhstan,” which he proclaims in a fake “Kazakh” accent.
Throughout his journey, Borat finds himself at odds with American culture, and vice versa. Much of the film is dominated by awkward and downright absurd interactions between Borat and several Americans who are unaware of Borat’s fictional nature. The results of this misinformation constitute many of the film’s most offensive and, consequently, most criticized scenes. Many people, including several featured in Borat, decry the filmmakers’ lack of informed consent in that they purposely kept secret the fact that Borat was an invented character. Many also find fault in the film’s misogynistic and racist portrayal of Kazakhstan, as well as in Borat’s frequent anti-Semitic remarks. These criticisms all stem from the notion that, as a documentary, Borat neglects the numerous ethical obligations suggested by scholars of documentary filmmaking. Despite the somewhat ambiguous boundary between what is ethical and what is not, notably in documentary filmmaking, Borat pushes so many limits that it would be nigh impossible to deem it a morally-upstanding film.
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However, rather than discredit the film, its blatant disregard of ethical limitations suggests that the expectations we have of documentaries are too restrictive, and that they limit the filmmaker’s freedom to create what is ultimately a form of art. While ideas regarding documentary ethics differ from scholar to scholar, there exists a general accord about concepts such as informed consent.
In the words of Randolph Lewis, a professor of cinema studies, informed consent represents the “notion that producers must divulge the full nature of the project to the people being interviewed” (80). Calvin Pryluck, one of the first scholars to discuss documentary ethics, would agree, claiming that “consent is flawed when obtained by the omission of any fact that might influence the giving or withholding of permission.” In other words, subjects who had given their consent may not have done so if they had known the full extent of the project to which they consented. Almost forty years after Pryluck began writing about informed consent, Willemien Sanders, a professor of media studies, acknowledges that the notion is still regarded as an essential part in creating ethical documentaries. As one of few ideas upon which scholars of documentaries can agree, informed consent has provided a foundation for documentary ethics for quite some time. Since Pryluck first began discussing the expectations of documentaries, the perceived standards have greatly expanded, covering areas beyond informed consent. Jay Ruby, a leader in the field of visual anthropology, assigns the responsibilities of a documentary filmmaker to three parties: responsibilities toward the film, toward the participant, and toward the audience. Ruby states that in fulfilling the responsibility toward the film, the filmmaker should produce an image that is a “true reflection of the intention in making the image in the first place” (310)—in other words, a filmmaker should be faithful to the message they intend to convey.