 That the poetic mode illustrates such subjective impressions with little or no rhetorical content, it is often perceived as avant-garde, and subsequent pieces in this mode (Godfrey Reggio’s "Koyaanisqatsi" (1982) for example,) are likely to be found within that realm.Documentary forefather John Grierson offers an explanation for the move away from poetic documentary, claiming filmmakers, "got caught up in social propaganda …We got on to the social problems of the world, and we ourselves deviated from the poetic line.