By Gary Don Rhodes and John Parris Springer, Gary Don Rhodes, John Parris Springer
Via many of the twentieth century, the excellence among the fictitious narrative movie and the documentary was once vigorously maintained. The documentary culture built part through part with, yet within the shadow of, the extra commercially winning function movie. within the latter a part of the century, despite the fact that, the 2 kinds merged now and again, and mockumentaries (fictional works in a documentary layout) and docudramas (reality-based works in a fictional structure) turned a part of the movie and tv landscape.
The 18 essays the following research the relationships among narrative fiction movies and documentary filmmaking, concentrating on how each one prompted the opposite and the way the 2 have been merged in such assorted movies and indicates as Citizen Kane, M*A*S*H, this can be Spinal Tap, and Destination Moon. issues comprise the docudrama in early cinema, the commercial movie as fake documentary, the terror evoked in Fifties technology fiction motion pictures, the promoting of "reality" in mockumentaries, and fact tv and documentary varieties. The essays supply a beginning for major rethinking of movie heritage and feedback, providing the 1st major dialogue of 2 rising and more and more very important genres.
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Extra resources for Docufictions: Essays On The Intersection Of Documentary And Fictional Filmmaking
The heightening of emotional tension through the application of traditional melodramatic devices such as “the chase” and “the lastminute rescue” from peril serves to both intensify the audience’s involvement with the events of the narrative and to render more acute the social crisis that they depict. 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?
Not surprisingly, then, traditional war docudramas like Band of Brothers fit appropriately the culture of conflict encouraged by the Bush administration. Television producers and network executives believe that docudrama subjects o›er stories that a significant percentage of their target audience will find personally significant. The target audience remains women between the ages of ¡8 and 49. Consequently working mothers, for example, will find something exemplary in the struggles for survival and success facing Martha Stewart or Lucille Ball.
The explicit tension between these aesthetic aims indicates a conflict of mimetic codes at work in these films; a conflict, particularly apparent in their miseen-scène, between documentary realism and fictional artifice. For instance, scenes 5 and 6 in Life of an American Fireman¡9 are shots of real fire engines racing down a city street. Porter incorporated these documentary images into his own invented story, and they stand in obvious contrast to the more theatrically staged scenes of the fire station, house façade, and burning bedroom.