Auswahl der wissenschaftlichen Literatur zum Thema „Documentary and fiction“
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Zeitschriftenartikel zum Thema "Documentary and fiction":
형대조. „Between Documentary and Fiction, and these combination: Documentary Fiction or Fictional Documentary?“ Film Studies ll, Nr. 67 (März 2016): 185–213. http://dx.doi.org/10.17947/kfa..67.201603.007.
Ruiz Carmona, Carlos. „The Fiction in Non-Fiction Film“. Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes 17, Nr. 2 (01.07.2019): 10–31. http://dx.doi.org/10.7195/ri14.v17i2.1238.
Weste, Marija. „CONNECTIVITY: THE SPACE OF DOCUMENTARY SEQUENCES IN THREE FICTION FILMS OF RIGA FILM STUDIO“. Culture Crossroads 10 (10.11.2022): 31–45. http://dx.doi.org/10.55877/cc.vol10.140.
Shōhei, Imamura. „Betwixt fiction and documentary“. Asian Cinema 28, Nr. 1 (01.04.2017): 101–5. http://dx.doi.org/10.1386/ac.28.1.101_1.
Young, Jekaterina. „Dovlatov'sCompromise:Journalism, Fiction, and Documentary“. Slavonica 6, Nr. 2 (November 2000): 44–67. http://dx.doi.org/10.1179/sla.2000.6.2.44.
Li, Manxi, Wenqing Su und Xinman Li. „New Documentary Film Seeks to Be “More Real”“. Scientific and Social Research 3, Nr. 5 (05.11.2021): 169–73. http://dx.doi.org/10.36922/ssr.v3i5.1246.
CHERKASHYNA, Tetiana, und Bohdan PARAMONOV. „NONFICTIONAL LITERATURE: NATURE, TYPOLOGY, TERMINOLOGY“. 6, Nr. 6 (09.12.2021): 72–100. http://dx.doi.org/10.26565/2521-6481-2021-6-04.
Middleton, Jason. „Documentary Horror: The Transmodal Power of Indexical Violence“. Journal of Visual Culture 14, Nr. 3 (Dezember 2015): 285–92. http://dx.doi.org/10.1177/1470412915607913.
Kosachova, O. „Historical Themes in Fiction and Documentary Cinematography: Comparative Analysis“. Culture of Ukraine, Nr. 79 (23.03.2023): 46–59. http://dx.doi.org/10.31516/2410-5325.079.05.
Martin, Adrian. „The documentary temptation: Fiction filmmakers and non-fiction forms“. NECSUS. European Journal of Media Studies 3, Nr. 2 (31.12.2014): 5–20. http://dx.doi.org/10.5117/necsus2014.2.mart.
Dissertationen zum Thema "Documentary and fiction":
Pedri, Nancy. „Factual matters, visual evidence in documentary fiction“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/NQ63610.pdf.
Steinbach, Katherine. „Documentary adaptation: non-fiction transformations via cinema and television“. Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5643.
Enticknap, Leo Douglas Graham. „The non-fiction film in post-war Britain“. Thesis, University of Exeter, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302538.
CRINITI, STEPHEN FRANCIS. „NAVIGATING THE TORRENT: DOCUMENTARY FICTION IN THE AGE OF MASS MEDIA“. University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1189530451.
Donica, Joseph Lloyd. „Disaster's Culture of Utopia after 9/11 and Katrina: Fiction, Documentary, Memorial“. OpenSIUC, 2012. https://opensiuc.lib.siu.edu/dissertations/460.
Cohen, Grégory. „Un cinéma de recherche entre fiction et documentaire : retour sur une expérience de film autour des relations filles-garçons avec des jeunes d’une cité HLM“. Thesis, Université Paris-Saclay (ComUE), 2019. http://www.theses.fr/2019SACLE018.
Starting from a filmic research on young people and love in a working-class neighborhood, this thesis, between social sciences and cinema, research and creation, raises a question of society - how young people deal with the social norms imposed by their groups of belonging? - and a question of cinema - how does the detour through fiction and improvisation allow us to investigate social realities and to imagine other ways of working with the surveyed ? It is based on a multi-year ethnographic survey in a working-class and immigration district of Paris suburbs (Les Mureaux - Yvelines), as well as on film workshops and the shooting of a film (The court of whispers) between fiction and documentary with young inhabitants aged 15 to 20 years old. In this space, where acquaintanceship is highly developed and each ensures his reputation, young people have difficulty showing their feelings and are often forced to play a social role. We wanted to study the specificity of this theatrical self-presentation, which is both a constraint - the injunction to adopt an attitude specific to the morality of the neighborhood - and a mode of survival and resistance, since it also allows to escape the eyes of others and more broadly the social norms that weigh on these young people. The film is an opportunity to create a privileged space of speech that allows reflexivity. It becomes a way of co-constructing research with the filmed and to release dominant representations of young people from working-class neighborhoods. The writing goes back to the social issues and cinema issues that have led this research. It reflects the thought in the film, both sociological and cinematographic. He goes back on his conditions of fabrication, his choices of realization, his theoretical inspirations, the "moments of cinematographic life" that emerged in this research
Smith, Elizabeth Ann. „Ecstatic Truth through Fiction: Re-framing the Science Film to Engage a Wider Audience“. Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/smith/SmithE0507.pdf.
Hinchliffe, Ian. „The documentary novel : fact, fiction or fraud? : an examination of three Scandinavian examples of the documentary novel from the 1960s and 1970s“. Thesis, University of Hull, 1989. http://hydra.hull.ac.uk/resources/hull:8034.
BRASIL, BRUNA RAFAELA VEIGA. „FICTION, DOCUMENTARY AND HISTORICAL NARRATIVE: A CASE STUDY OF SOCIAL REPRESENTATION OF KIDNAPPING OF BUS 174“. PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2011. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=18792@1.
O propósito deste trabalho consiste em analisar o espaço ético nas representações sociais do cinema brasileiro contemporâneo. Para compreensão dos limites entre ficção e documentário, e entre filme baseado ou inspirado em fatos reais, tomam-se para análise comparativa o documentário e a ficção realizados sobre a rendição armada do ônibus 174 por Sandro do Nascimento, em junho de 2000: Ônibus 174(2002), de José Padilha e Última parada 174 (2009), de Bruno Barreto. Estes filmes constroem discursos sobre o local (a cidade do Rio de Janeiro) de múltiplos pontos de vista transnacionais, o que nos leva ao questionamento sobre o olhar estrangeiro na construção da representação do local. Para a análise dos filmes propõe-se aplicar o conceito de axiografia, desenvolvido por Bill Nichols, não só a obras classificadas como documentários, mas também às ficções baseadas em fatos reais.
The purpose of this work is to analyze ethical space on social representations of contemporary Brazilian cinema. For understanding of the boundaries between fiction and documentary, and between film based on or inspired by real facts takes to benchmarking the documentary and fiction made about bus 174 rendition armada by Sandro birth in June 2000: bus 174 (2002), José Padilha and last stop 174 (2009), Bruno Barreto. These films are building speeches about the location (the city of Rio de Janeiro) multiple viewpoints transnational, raising questions about the look abroad in construction of local representation. For the analysis of films proposed to apply the concept of axiografia developed by Bill Nichols not only the works classified as documentaries, but also to fictions based on real events.
Gurses, Seyda Aylin. „'I Just Wanted You to Know': War Testifies through the Camera“. Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/483.
Bücher zum Thema "Documentary and fiction":
Beattie, Keith. Documentary screens: Non-fiction film and television. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2004.
Barnouw, Erik. Documentary: A history of the non-fiction film. 2. Aufl. New York: Oxford University Press, 1993.
Vasilikos, Vasilēs. The coroner's assistant: A fictional documentary. New York: Pella Pub. Co., 1990.
Binh, N. T., José Moure und Solveig Anspach. Documentaire et fiction: Allers-retours. Bruxelles]: Les Impressions nouvelles, 2015.
Garga, B. D. From Raj to Swaraj: The non-fiction film in India. New Delhi: Viking, 2007.
Sauerberg, Lars Ole. Fact into fiction: Documentary realism in the contemporary novel. New York: St. Martin's Press, 1991.
Sauerberg, Lars Ole. Fact into fiction: Documentary realism in the contemporary novel. London: Macmillan, 1991.
Stone, Jim. Stranger than fiction. Syracuse, N.Y: Light Work, 1993.
Haddu, Miriam, und Joanna Page, Hrsg. Visual Synergies in Fiction and Documentary Film from Latin America. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230622159.
Foley, Barbara. Telling the truth: The theory and practice of documentary fiction. Ithaca: Cornell University Press, 1986.
Buchteile zum Thema "Documentary and fiction":
Durcan, Sarah. „Documentary Fiction“. In Memory and Intermediality in Artists’ Moving Image, 159–98. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-47396-9_6.
Sauerberg, Lars Ole. „Introduction: Documentary Realism“. In Fact into Fiction, 1–15. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21299-6_1.
Beattie, Keith. „The Fact/Fiction Divide: Drama-Documentary and Documentary Drama“. In Documentary Screens, 146–60. London: Macmillan Education UK, 2004. http://dx.doi.org/10.1007/978-0-230-62803-8_9.
Sauerberg, Lars Ole. „Documentary Realism and the Postmodernist Scene“. In Fact into Fiction, 180–91. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21299-6_7.
French, Lisa. „Gillian Armstrong: The Line Between Fact and Fiction“. In The Female Gaze in Documentary Film, 219–47. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-68094-7_11.
Anderson, Alexandra. „Cuban Documentary: Synergy and Its Discontents“. In Visual Synergies in Fiction and Documentary Film from Latin America, 49–65. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230622159_4.
Wade, Stephen. „The Berlin Fiction and Documentary Writing of the 1930s“. In Christopher Isherwood, 30–48. London: Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-21877-6_3.
O’Sullivan, Shane. „The Rise of the Feature Documentary—Fact or Fiction?“ In DVD, Blu-ray and Beyond, 135–57. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-62758-8_8.
Page, Joanna. „Introduction: Fiction, Documentary, and Cultural Change in Latin America“. In Visual Synergies in Fiction and Documentary Film from Latin America, 3–13. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230622159_1.
Aguilar, Gonzalo. „The Documentary: Between Reality and Fiction, between First and Third Person“. In New Argentine and Brazilian Cinema, 203–15. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137304834_14.
Konferenzberichte zum Thema "Documentary and fiction":
Starciuc, Mariana. „Traditional theater versus documentary theater: theoretical references and conceptual boundaries“. In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.15.
Olarescu, Dumitru. „Ethnological motifs in the non-fiction film“. In Ethnology Symposium "Ethnic traditions and processes", Edition II. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975333788.07.
Soares, Liliana, Ermanno Aparo und Rita Almendra. „Design and creativeness for a three-act session“. In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003537.
Koblenkova, Diana V. „ON SOME TRENDS IN THE SATIRICAL LITERATURE AND CINEMATOGRAPHY OF SWEDEN AT THE END OF THE 20TH — BEGINNING OF THE 21ST CENTURY (C.-J. VALLGREN AND R. ÖSTLUND)“. In Second Scientific readings in memory of Professor V. P. Berkov. St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063576.
Chepelevskaya, Tatyana. „Travel Essays by E.i. Witte at the Beginning of the 20th Century as an Example of Documentary Fiction and an Example of a "Feminine" View of the "Slavic" Theme“. In Woman in the heart of Europe: non-obvious aspects of gender in the history and culture of Central Europe and adjacent regions. Institute of Slavic Studies, Russian Academy of Sciences, 2022. http://dx.doi.org/10.31168/0475-6.32.
Prstojevic, Alexandre. „Un certain goût de l’archive (Sur l’obsession documentaire de Danilo Kiš)“. In L'effet de fiction (2001). Fabula, 2022. http://dx.doi.org/10.58282/colloques.7677.
d’Ardino, Laurent Scotto. „Le style documentaire dans Paisà de Roberto Rossellini. L’exemple de l’épisode florentin“. In L’Histoire en fictions. La Seconde Guerre mondiale dans le néoréalisme italien. Fabula, 2016. http://dx.doi.org/10.58282/colloques.3117.
Riera Retamero, Marina. „Touki Bouki: (des)encuadres políticos de la diáspora estética“. In IV Congreso Internacional Estética y Política: Poéticas del desacuerdo para una democracia plural. València: Editorial Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/cep4.2019.10292.
Asholt, Wolfgang. „Pratique documentaire ou fiction historique ? Formes du savoir historique chez les Incultes. L’Île comme Forteresse et l’archipel des Places“. In Inculte : pratiques éditoriales, gestes collectifs et inflexions esthétiques. Fabula, 2023. http://dx.doi.org/10.58282/colloques.9800.
ZHANG, YA-KUN. „AN ANALYSIS OF THE THEME IN THE KILLERS FROM PERSPECTIVE OF ICEBERG THEORY“. In 2021 International Conference on Education, Humanity and Language, Art. Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/ehla2021/35682.