By Gary Don Rhodes and John Parris Springer, Gary Don Rhodes, John Parris Springer
Via lots of the twentieth century, the excellence among the fictitious narrative movie and the documentary was once vigorously maintained. The documentary culture constructed aspect through facet with, yet within the shadow of, the extra commercially profitable function movie. within the latter a part of the century, besides the fact that, the 2 kinds merged infrequently, and mockumentaries (fictional works in a documentary structure) and docudramas (reality-based works in a fictional structure) turned a part of the movie and tv landscape.
The 18 essays the following learn the relationships among narrative fiction motion pictures and documentary filmmaking, concentrating on how each one prompted the opposite and the way the 2 have been merged in such varied movies and exhibits as Citizen Kane, M*A*S*H, this can be Spinal Tap, and Destination Moon. subject matters comprise the docudrama in early cinema, the commercial movie as pretend documentary, the terror evoked in Nineteen Fifties technology fiction movies, the marketing of "reality" in mockumentaries, and truth tv and documentary types. The essays supply a starting place for major rethinking of movie historical past and feedback, delivering the 1st major dialogue of 2 rising and more and more vital genres.
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Additional info for Docufictions: Essays On The Intersection Of Documentary And Fictional Filmmaking
However, these works indicate equally to their audiences the need to receive them as entertainment products and enter the market place as feature films. Their dominant codes and conventions are dramatic and melodramatic, documentary and non-fictional. In semiotic terms, hybridity depends upon indexical icons, re-creations that bear close, motivated resemblances to the real and to representations of the real. Evidence of the timeliness of the rhetoric of American movie-of-the-week docudrama is in the frequency of production during sweeps periods.
The synthesis of realism and melodrama in these two films creates a measure of uncertainty concerning their outcomes. Will the mother and child die a fiery death? Will the bandits escape the law and flee with their ill-gotten loot? The possibility of these “realistic” endings suggests the profound cultural anxieties raised by these subjects. More to my point, they reveal the extent to which documentary and fiction could be fluidly merged in the telling of a dramatically compelling yet socially authentic narrative.
Docudrama and mock-documentary continue to have a role beyond their formal adoption and subversion of documentary and its codes and conventions. ” Adding popular reach to formal grasp as they do enables some films and programs, at certain times, to punch significantly above their apparent weight. 1. Bill Nichols, Representing Reality: Issues and Concepts in Documentary (Bloomington: Indiana University Press, ¡99¡) ¡60. 2. ,” Media Culture and Society 22 (2000) 5. 3. See Gary Edgerton, “High Concept, Small Screen: Reperceiving the Industrial and Stylistic Origins of the American Made-for-TV Movie,” Journal of Popular Film and Television, ¡9: 3, ¡¡4–27.