The contribution deals with the new development in sports documentaries and discusses the thesis that these media representations of sports have arrived in the mainstream. The starting point is that, on the one hand, new production techniques facilitate and cheapen the production of documentary films. On the other hand, we see the rise of new forms of distribution such as the Internet, Pay-TV, streaming providers. The new potential became particularly apparent with the entry of Red Bull. The Austrian energy drink company uses sports documentaries as a marketing tool. Another aspect of current developments is the establishment of new narrative structures: sports documentaries imitate the storytelling of fictional Hollywood films.
The success of sports documentaries is apparent. In Germany, 'Deutschland. Ein Sommermärchen' (D 2006) was the most successful documentary film of the last 15 years with 4 million viewers. ESPN has broadcast 104 episodes of the documentary series '30for30' since 2009. Sports documentaries win Academy Awards for best documentary: 'Free Solo' (2019) 'Icarus' (2018) and 'Undefeated' (2012). Our thesis is that 'Undefeated' (2012) has set the standard for subsequent productions with new storytelling. This method is mainly used in the new sports documentary series (e. g. “All or Nothing” (Amazon) or “Last Chance U” (Netflix)).
Despite their success, sports documentaries have received little attention from national and international research.. In particular, interdisciplinary approaches and concentration on sports documentaries are rare. We wanted to close this gap. In a larger project, we are dealing with the history, differentiation, differences, and similarities between sports documentaries and fictional sports films. In addition, the importance of further providers and distribution channels will be considered. We view the interrelation between the development of sport and society by means of sports documentaries. In doing so, we look primarily at the medialization, commercialization and politicization of sport. We focus on film aesthetics, the special presentation of different sports and the topics relevant to sports and social policy. The result is a systematization proposal for further research.
In the proposed contribution we present an excerpt of this examination (about soccer) of sports documentary and update this research area. We would like to give an overview of the characteristics and differentiation of this sub-genre with three film analyses. Firstly, the film 'Deutschland - Ein Sommermärchen' (D 2006), which gives an insight into the German team during the 2006 FIFA World Cup in Germany. The second is the portrait film 'Trainer! (D 2013) which provides insights into the training and working methods of three German soccer coaches and their views on their profession. For the third 'Football under Cover' (D 2008) by Najafi and Assmann. A documentary about a women soccer match between a German and an Iranian team.
Our overview of the subgenre soccer documentaries allows statements about the future of sports documentaries. We discuss the opportunities for authors and production companies, the new narrative structure and the use of films as a marketing tool by associations and clubs.