Einloggen

Thematische Bibliographien / Documentary and fiction / Zeitschriftenartikel

Zeitschriftenartikel zum Thema „Documentary and fiction“

Um die anderen Arten von Veröffentlichungen zu diesem Thema anzuzeigen, folgen Sie diesem Link: Documentary and fiction.

Autor: Grafiati

Veröffentlicht am 22. Juni 2024

Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an

Wählen Sie eine Art der Quelle aus:

Machen Sie sich mit Top-50 Zeitschriftenartikel für die Forschung zum Thema "Documentary and fiction" bekannt.

Neben jedem Werk im Literaturverzeichnis ist die Option "Zur Bibliographie hinzufügen" verfügbar. Nutzen Sie sie, wird Ihre bibliographische Angabe des gewählten Werkes nach der nötigen Zitierweise (APA, MLA, Harvard, Chicago, Vancouver usw.) automatisch gestaltet.

Sie können auch den vollen Text der wissenschaftlichen Publikation im PDF-Format herunterladen und eine Online-Annotation der Arbeit lesen, wenn die relevanten Parameter in den Metadaten verfügbar sind.

Sehen Sie die Zeitschriftenartikel für verschiedene Spezialgebieten durch und erstellen Sie Ihre Bibliographie auf korrekte Weise.

1

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.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

2

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.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

Over the past few decades film theory, major scholars and acclaimed filmmakers have established that documentary just like fiction must resort to ambiguous and subjective rhetorical figures in order to represent the world. This has led some scholars to conclude that documentary as a term referring to itself as being non-fictional might be disregarding its inevitable fictional elements. This may imply that both documentary and fiction use the same strategies and obtain the same results when representing the world: ficitionalize reality. If we accept this claim as true we need to ask whether terms such as fiction and non-fiction or documentary make sense when discussing representing reality. Does this mean that cinema can only fictionalize reality and therefore we should erradicate from this discussion tems such as non-fiction or documentary due to their associated “truth” claim? Can we understand or discuss representing reality without referring to those terms? Can the term fiction exists in fact without refferring to the term non-fiction or documentary? The questions that this paper intends to answer are: What roles do documentary and fiction play in representing the historical world? Are these terms necessary to comunicate and understand representing reality? This paper has established that fiction and documentary are necessary terms that emerge in cinema narration as means to mirror human experience’s needs to organize, communicate and understand reality.

3

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.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

The subject of this study is the augmentation of portrayal of reality in fiction films by inclusion of documentary sequences. This article explores a hypothesis that in the spacetime continuum, film borders of cinematic genres, the divide between documentary and fiction cinema is disregarded. This divide appears if not artificial, then subordinated to the unity of each particular film as a text. The concept of con- nectivity can be applied to describe the relation of spaces of the documentary and the fictional sequences in a film. The Latvian cinema offers a wide range of instances for the generic fusion of the documentary and the fiction film as genre. The practice of including documentary sequences into the fiction films – in a tradition of the Riga poetic documentary school in the case of this study – (re)presents historical dynamics in film poetics. The appearance of several genre s paces in one spacetime continuum of a film (re)constructs the social space of film’s production momentum. The documentary sequences in the fiction film function both as an added and illustrative value to the main fictional visual narrative, and gradually become a meaning-making element in the wholeness of this cinematic text. Initially in the short film Divi (“Two”, 1965), directed by Mihails Bogins, filmed by Rihards Pīks, and later by Henrihs Pilipsons the documentary sequences were employed to (re)create the modern urban space. Later, as the practice of documentary inclusion became common in the middle of 1960s, the documentary sequences appeared in the musical film Elpojiet dziļi (“Breathe Deeply”, 1967, directed by Rolands Kalniņš, cinematographed by Miks Zvirbulis) to construct multiplicity of spaces, uniting creative and factual realities in the narrated space of the film. The film Elpojiet dziļi demonstrates that the merger of genres, styles and spaces is creative to the extent of spilling off the screen and into the non-cinematic reality. The film is a story of a fictional boy band. It inspired formation of the band Menuets to re-enact the songs written for and performed in the film. The con nectivity of the documentary and the fiction sequences in this film achieve a level of connection where it is no longer possible to speak of subjugation of one genre to the other. It can be described as a construction of a new connected and permeable cinematic space. A further instance of the connectivity of documentary and fiction generic spaces in a film is the film Ābols upē (“Apple in the River”, 1974, directed by Aivars Freimanis, cinematographed by Dāvis Sīmanis (sen)). This film represents a stream of multiple genres and a flow of various citations, inspirations and ideas featuring the cultural space of late Soviet republic of Latvia. In this film the connectivity of the documentary and the fictional episodes becomes rhetorical means of cinematic expression.

4

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.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

5

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.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

6

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.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

After the birth of documentary film, the discussion of “fiction” and “non-fiction” has not stopped. Influenced by the ideological trend of postmodernism, “new documentary film” overturns the concept of traditional documentary film and believes that it is feasible and meaningful for documentary to take “fiction” as a means. Adhering to the “new” exploration of this documentary, the author discusses the historical origin of new documentary films, the authenticity of new documentary films at home and abroad and the creative techniques of new documentary films, in order to provide innovative support for the true publication of new documentary films.

7

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.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

The article is devoted to the reviewing of theoretical aspects of nonfiction literature. Similar in semantic content, but not identical terms as nonfictional literature, nonfictional writing, literature of fact, factography, fiction-documentary literature, fiction-documentary prose, fiction-documentary writing, literary nonfiction, literature of non-fiction, nonfictional prose, factual narrative, which have become commonly used in American, Spanish, Ukrainian, French, Slavic terminology, are analyzed. All these terms refer to a set of texts written on the basis of real events without the use of fiction. Typical features of this type of literature are the synthesis of documentary components and fiction, veracity, factuality, authenticity, objectivity, the use of real names, dates and geographical indications. At the same time, the reflection of real events and their participants is presented through the prism of the author’s self, and therefore subjectivity, personal component, merging of images of the author and the narrator are added to the leading features of nonfiction literature. The article focuses on the main structural and typological branches of nonfiction literature – historical nonfiction, literary biography, fictional journalism and memoirs. In compiling this classification, the main object of the non-fiction narrative was taken into account in the first place; sources of documentary information; varieties of author's presence in the text (in particular, as an outside observer, witness or main character); subjective factor of personal participation in the events described in the work, or personal acquaintance with the direct participants in the events; genre-typological characteristics of nonfictional works. The article highlights the main typological characteristics of each type of non-fiction, analyzes their genre system, presents the characteristics of varieties and subvarieties. Particular attention is paid to the analysis of memoirs, which is a complex and multilevel type of non-fiction, which, in turn, consists of several subvarieties – the memoirs, the autobiography, the diary, the epistolary. The article differentiates the subvarieties of memoir literature, considers options for the synthesis of its types and forms.

8

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.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

This article reevaluates critical distinctions between so-called ‘art-horror’ and ‘natural’ or real-world horror to challenge larger modal distinctions between fiction and documentary film and their ostensibly divergent spectatorial practices. It focuses on images of animal slaughter, which traverse boundaries between fiction and documentary, art-horror and natural horror. The indexical force of animal slaughter may displace or undo the metaphorical in fictional horror film, producing a spectatorial wavering between the registers of the figurative and the literal. Shaun Monson’s documentary film Earthlings (2005) demands of viewers a mode of spectatorial discipline derived from the horror film experience. Earthlings and its viewer reaction videos reinvent the collective performance of terror among theatrical horror film audiences for a documentary context and for online media platforms like YouTube. Earthlings functions as a form of spreadable media in which viewers’ horrified reactions are harnessed in the production of knowledge and political commitment.

9

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.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

The purpose of this article to investigate the peculiarities of the representation of historical transformations in fiction and documentary cinematography, to reveal the artistic potential of cinema in the coverage of historical issues. The methodology. The main methods of cognition were used: socio-communicative, axiological, culturological approaches, figurative-stylistic analysis and structural-functional method, art history approach combined with morphological analysis, hermeneutic approach. The specified methods contributed to the in-depth study of fiction and documentary films aimed at the coverage of historical or current events. The results. In the course of the study, it was found that the line between documentary and fiction films is extremely thin, especially when the films claim to cover historical events or real figures. Despite the fact that fiction cinema is realized thanks to the play of actors, and documentary cinema is realized thanks to the shooting of real participants in the events, the means of expression of both types of cinematography are similar. One of the results of the analysis was the conclusion that documentary cinema uses a greater number of expressive means than fiction films. This is due to the fact that the directors of fiction films strive to document the aesthetics of the film, and the directors of the documentary, on the contrary, to strengthen the artistic component. Historical themes combine documentary and fiction films, while the aesthetics of documentary films is more diverse. The scientific novelty of the research. In this research for the first time, we investigated the historical transformations in fiction and documentary cinematography from the point of view of cultural meanings and aesthetic foundations of both types of cinema, and also analyzed the potential of cinematography to reveal hot and controversial topics on the example of contemporary cinema works. The practical significance of the article. The presented research can be used by filmmakers in both the field of fiction and documentary cinema in order to create an objective, unbiased and artistically valuable screen product. In addition, the conducted analysis can be useful in teaching professional courses in the specialty 021 “Audiovisual art and production”.

10

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.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

11

Kitsnik, Lauri. „Record. Reenact. Recycle. Notes on Shindō Kaneto’s Documentary Styles“. Arts 8, Nr. 1 (22.03.2019): 39. http://dx.doi.org/10.3390/arts8010039.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

In his work, the filmmaker Shindō Kaneto sought to employ various, often seemingly incongruous, cinematic styles that complicate the notions of fiction and documentary film. This paper first examines his ‘semi-documentary’ films that often deal with the everyday life of common people by means of an enhanced realist approach. Second, attention is paid to the fusion of documentary and drama when reenacting historical events, as well as the subsequent recycling of these images in a ‘quasi-documentary’ fashion. Finally, I uncover a trend towards ‘meta-documentary’ that takes issue with the act of filmmaking itself. I argue that Shindō’s often self-referential work challenges the boundaries between fiction and non-fiction while engaging in a self-reflective criticism of cinema as a medium.

12

Balčus, Zane. „ANSIS EPNERS’ FILM “ALIVE”: FROM DOCUMENTARY TO FICTION“. Culture Crossroads 14 (09.11.2022): 54–62. http://dx.doi.org/10.55877/cc.vol14.90.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

The first short documentary “Alive” (Dzīvs, 1970) is an important signifier of Latvian director Ansis Epners’ (1937–2003) oeuvre both in terms of his approach to documentary film practice, and growing interest in fiction filmmaking. The film “Alive” and later idea to develop a full-length fiction film based on its main character demonstrate Epners’ unconventional expression of both kinds of filmmaking, which was received with a mixed response at the time. Epners used performative elements in the documentary, and included real-life character playing himself in the planned fiction film, challenging the assumptions and conventions of filmmaking practices in Latvia at that time. In this article I will analyse Epners’ formal and stylistic choices in the film “Alive” and its reception in the early 1970s, and the script for the fiction film based on the main character of the film “Alive” Arnolds Cīrulis. The reception of “Alive” shows the contradictions between the dominant views on the documentary film form and Epners’ work. The fiction film script, which was not turned into film, remains as an example of versatility of Epners’ ideas on the potentials of fiction filmmaking.

13

Salnikova, Ekaterina V. „Thinking About the Prehistory of Documentary Essence of Contemporary Visual Culture“. Observatory of Culture, Nr. 2 (28.04.2015): 34–41. http://dx.doi.org/10.25281/2072-3156-2015-0-2-34-41.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

Reflects on the motives of contemporary popularity of hybrid screen forms, including elements of documentary and fiction as well. The prehistory of documentary is discussed. The author proposes a concept of syncretism of documental and fictional in the ancient culture, especially in myth and performing arts. The later art forms are also addressed especially those referring to reliable historical facts or containing play simulation of documentality.

14

Friend, Stacie. „Falsehoods in film: documentary vs fiction“. Studies in Documentary Film 15, Nr. 2 (04.05.2021): 151–62. http://dx.doi.org/10.1080/17503280.2021.1923145.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

15

Levine, Alison Murray J. „'Provoking situations': Abderrahmane Sissako's documentary fiction“. Journal of African Cinemas 3, Nr. 1 (31.03.2011): 93–108. http://dx.doi.org/10.1386/jac.3.1.93_1.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

16

Godime, Enida. „Historiographic Fiction or a Documentary Genre?“ Interdisciplinary Journal of Research and Development 11, Nr. 1 (23.03.2024): 133. http://dx.doi.org/10.56345/ijrdv11n119.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

In many novels of the 20th century, has been noticed a desire to rely on history in the form of meta-narratives, but at the same time to move away from history with the help of irony. This is mainly the nature of postmodernist works, which operate under the motto anything goes, everything is allowed. But in one of Kadare's works "Mornings in Rostand Coffee" can be noticed an attempt to build at the same time historiographical metafiction and a documentary novel about events that have left a mark on his memory. On one hand there are fragments of memories, reflections, findings, descriptions in the form of a macro text that connect the author's feelings, before and after the fall of communism in Albania. Different issues of the Albanian reality are thematised, where history and fiction are connected with each other. On the other hand, this work is also on the borders of a documentary novel, because the importance is on the true composition of the event and not the composition of the work, for being strongly connected from one chapter to the next. Our work is focused on trying to find connections between a historiographic fiction, documentary genre, autobiographic memory or how from one type it can be catapulted to another type easily. This is the technique of modernists and postmodernists who do not define the work in a single literary type. Through research, diffraction and analysis of the details of history and fiction, we intend to show that Kadare's work stands very well in an experimental novel, but also in a cycle of essays which connect the fate of the writer, his emotional feelings. Received: 19 February 2024 / Accepted: 15 March 2024 / Published: 23 March 2024

17

Stam, Robert. „Hybrid variations on a documentary theme“. Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual 2, Nr. 2 (25.07.2016): 22. http://dx.doi.org/10.22475/rebeca.v2n2.307.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

Although often assumed to be polar opposites, documentary and fiction are in fact theoretically and practically intermeshed, just as history and fiction, also conventually seen as opposites, are symbiotically connected. Historian Hayden White argued in Metahistory that the myth/history distinction was arbitrary and of recent invention. In words that apply to film as well as to writing, White pointed out that it matters little whether the world that is conveyed to the reader/spectator is conceived to be real or imagined; the manner of making discursive sense of it through tropes and emplotment is identical (WHITE, 1973). In this article, we will examine the ways that the hybridization of documentary and fiction has been mobilized as a radical aesthetic resource.

18

Koutras, Konstantinos. „Documentary Fictions: Jacques Rancière and the Problem of Indexical Media“. Film-Philosophy 27, Nr. 2 (Juni 2023): 262–81. http://dx.doi.org/10.3366/film.2023.0229.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

The indexicality of film and sound recordings remains an unresolved problem in contemporary documentary theory. The prevailing conceptualisation of the documentary assigns it the status of a sober discourse, a framing in which history is modelled as absent cause and the unqualified distinction between fiction and non-fiction is considered sacrosanct. The denotative literalism characteristic of indexical media, however, confounds this conceptualisation, which in turn encourages the devaluing of documentary aesthetics; the documentary is not a medium of art, it is said, but of argument. In this article, I examine how philosopher Jacques Rancière offers an alternative account of the documentary grounded on aesthetics rather than sobriety. I show how, in rethinking the absent cause model of history as well as the relationship between fiction and nonfiction, Rancière's aesthetic approach resolves the conceptual problem posed by indexicality and brings clarity to the value and function of indexical media with respect to the documentary.

19

Margineanu, Virgiliu. „The documentary film – means of education of the young generation“. Studiul artelor şi culturologie: istorie, teorie, practică, Nr. 2(43) (April 2023): 106–14. http://dx.doi.org/10.55383/amtap.2022.2.19.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

Every time you watch a soap opera, a documentary dies,” says a character in the Italian comedy “Tuttelovogliono” (2015). The context in which this character makes the statement highlights the educational role of documentaries, compared to the first genre of film production. But first of all, what is a documentary? The special nature of this kind of film in general, as well as the use of photographic images and sound recordings in particular, have proven difficult to conceptualize by reference to the distinction fiction film/non-fiction film. There is also terminological confusion caused by different uses of the term “documentary” and the phrase “non-fiction film”. “Latosensu”, we can attest to instructional non-fiction films, product promotion films, historical documentaries or biographical films.

20

Malkova, Liliana Yuryevna. „State backing of non-fiction film“. Journal of Flm Arts and Film Studies 5, Nr. 1 (15.02.2013): 92–107. http://dx.doi.org/10.17816/vgik5192-107.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

The article, based on the authorial analysis of the post-Soviet documentary film, focuses on the state system of organizational and financial support. It is analyzed in comparison with the Soviet practices of thematic planning, its evolution over 20 years, legal inconsistencies of the transition to market relations, which either casts the documentary film back to the predetermined from above object-matters or presupposes the budget division between interested film producers. Many years’ experience in the Expert Council of the Culture Ministry allows the author to give an outward glance on the problem of the insufficient demand of the documentary cinema.

21

Quinche, Florence. „Le film pour penser l’histoire“. Didactica Historica 3, Nr. 1 (2017): 1–18. http://dx.doi.org/10.33055/didacticahistorica.2017.003.01.41.long.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

How can we use documentary films in teaching history ? This article proposes to think the film medium with Peirce's pragmatics opens on the plurality of the interpretants, depending on the specific situation of communication. The distinction between iconic and index signs helps to analyse different types of images : historical sources, reconstructions, and even purely fictional representations. The relation of fiction to history will also be questioned : can also a fiction film be useful in teaching history ?

22

Karlsen, Joakim. „Aligning Participation with Authorship“. Non-fiction Transmedia 5, Nr. 10 (31.12.2016): 40. http://dx.doi.org/10.18146/2213-0969.2016.jethc111.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

The main contribution of this article is to describe how the concept of non-fiction transmedia has challenged the independent documentary film community in Norway. How the new possibilities afforded by web- and mobile media, with the potential of reconfiguring the current relation between author and audience, has been perceived and performed. Based on an extensive interview study and reflections on contributing to a non-fiction transmedia project, I argue that the emerging practice of making non-fiction transmedia face many of the same challenges as the participative documentary practice of the 70s, mainly that facilitation of real audience participation, requires a break from the broadcasting logic of the mainstream documentary film practice.

23

Vaziri, Persheng. „Iranian Documentary Cinema between Reality and Fiction“. Middle East Report, Nr. 225 (2002): 53. http://dx.doi.org/10.2307/1559353.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

24

Burns, Bryan. „Fiction of the real: Shoah and documentary“. Immigrants & Minorities 21, Nr. 1-2 (März 2002): 80–88. http://dx.doi.org/10.1080/02619288.2002.9975032.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

25

Corbett, Kevin J. „Beyond Po-Mo: The “Auto-Fiction” Documentary“. Journal of Popular Film and Television 44, Nr. 1 (02.01.2016): 51–59. http://dx.doi.org/10.1080/01956051.2015.1075954.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

26

Bruveris, Klara. „THE “CREATIVE TREATMENT OF ACTUALITY”: POETICS AND VERISIMILITUDE IN LAILA PAKALNIŅA’S FILMS“. Culture Crossroads 10 (10.11.2022): 85–90. http://dx.doi.org/10.55877/cc.vol10.144.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

Laila Pakalniņa is a contemporary Latvian filmmaker who works across both documentary and fiction film. Her films are often regarded as avant-garde, experi- menting with genre conventions, challenging her audiences to reconsider their understanding of narrative and the cinematic form. Her work also pushes the boundaries between what constitutes fiction film and what constitutes documen- tary. This arguably occurs because of her engagement with the tropes of poetic documentary cinema, of which there is a strong tradition in Latvia due to the famous Riga School of Poetic documentary established in the 1960s. This paper examines her documentary film Čau, Rasma (“Hi, Rasma”, 2014) as a continu- ation of the poetic documentary tropes developed by John Grierson, and argues that verisimilitude can be found in her documentaries through an application of Grierson’s philosophical work. The paper aims to contribute to a broader discus- sion of poetic documentary practices in the current era, and how this documentary approach has developed from its modernist beginnings.

27

Zhu, Zhaoyu. „Documenting Chinese homecomings: Reflexive aesthetics and cinematic memories in Four Springs (2017) and The Reunions (2020)“. Asian Cinema 34, Nr. 2 (01.10.2023): 215–31. http://dx.doi.org/10.1386/ac_00072_1.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

This article examines two contemporary Chinese films that document the filmmakers’ homecoming journey during the Chinese New Year: Sige chuntian (Four Springs) () and Jixiang ruyi (The Reunions) (). It argues that both films have the characteristic of being reflexive documentaries exploring and expanding the boundaries of documentary films. According to Meunier’s three types of filmic identifications – the documentary attitude, the home-movie attitude and the fiction attitude – the two films challenge documentary norms and combine the documentary attitude with the other two types of attitude. Four Springs combines documentary and home movie by closely capturing the four journeys of homecoming confined in the private sphere of the filmmaker’s home, whilst The Reunions combines documentary and fiction, and even actuality and performance, through actor Liu Lu’s portrayal of the director Da Peng’s cousin in the presence of his real family. By challenging these documentary forms, these two films reflect the directors’ uses of documentary to memorialize their personal experiences with their families, more than merely reflecting the cultural phenomenon of the Chinese New Year homecoming.

28

Knight, Deborah. „Metafiction, Pararealism and the "Canon" of Canadian Cinema“. Articles divers 3, Nr. 1 (08.03.2011): 125–46. http://dx.doi.org/10.7202/1001184ar.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

Critical thinking about the English-Canadian and Quebec cinemas has focused lo a large degree on the realist tendencies of our fiction filmmaking-tendencies, it is argued, which fiction filmaking has, historically inherited from Canadian documentary film practices. But in recent fiction filmmaking, Canadian filmmakers have moved beyond social realism. Indeed, the emergence in English-Canada and Quebec of filmmaking that is metafictional and pararealist — in films like Léa Pool's La Femme de l'hôtel, Bruce McDonald's Roadkill and Patricia Rozema's White Room — gives us occasion not only to rethink the criteria that have been used to identify "canonic" film, but more importantly to see how these self-conscious fictional strategies, which initially seem to reject the norms of social realism, are in fact part of an ongoing re-examination of the limits of fiction.

29

Marchetti, Gina. „Documentary and democracy: An interview with Evans Chan“. Asian Cinema 33, Nr. 2 (01.10.2022): 257–75. http://dx.doi.org/10.1386/ac_00059_7.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

Gina Marchetti’s interview with NewYork-based Hong Kong independent filmmaker Evans Chan took place after Chan had said goodbye to his former home and to nearly three decades of filmmaking in the city, following the introduction of Hong Kong’s National Security Law in 2020. Her interview focuses on Chan’s non-fiction filmmaking, particularly his recent films dealing with Hong Kong’s two protest movements of 2014 and 2019, namely Raise the Umbrellas 撐傘 () and We Have Boots 我們有雨靴 (). While the latter part of the interview concerns Chan’s thoughts on the relationship between documentaries and democracy, it also explores the signature aesthetics of his films and an underlying ‘story of Hong Kong’, which the interviewer sees as a consistent thread running through his fiction and non-fiction filmography. A wide range of cinematic, literary, sociopolitical and philosophical influences in his work emerge in the course of this in-depth interview with the filmmaker.

30

Beer, David. „Fiction and Social Theory: E-Special Introduction“. Theory, Culture & Society 33, Nr. 7-8 (08.07.2016): 409–19. http://dx.doi.org/10.1177/0263276415595912.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

This E-Special issue brings together a range of articles from the Theory, Culture, & Society archive that directly explore the relations between fiction and social theory. Each article develops a different perspective on these relations, yet they all share a common interest in probing at the different ways in which fiction might enrich and provoke our conceptual imaginations. These articles ask how theory might be used to understand or illuminate fiction, whilst also considering how theory might be extended, challenged or informed by fictional resources. In general terms, the articles take three types of overlapping approach. First, there are those that use fiction to extend the imagination of social theory. Second are the articles that use fiction as a documentary resource and platform for theorizing. And, finally, there are those articles that use theory to reanimate and re-examine fictional forms. In exploring these three intersecting branches the pieces illustrate the different ways in which fiction and social theory might interweave in our thinking. The articles gathered here provide frameworks, ideas and resources through which the reader might continue to think imaginatively and creatively about the social world.

31

Koznova, N. N. „Memoir essay as a document of fiction“. Philology and Culture, Nr. 4 (29.12.2023): 141–47. http://dx.doi.org/10.26907/2782-4756-2023-74-4-141-147.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

The article explores the memoir essay as a journalistic genre combining documentary and fictional elements. The study is based on the books of memoirs by B. Zaitsev, M. Nesterov and S. Rachmaninov. The analysis of memoir texts by people of creative professions makes it possible to identify the features of the synthesis of two narrative components and to determine the individual author’s approach to the disclosure of the characters’ personality.As a result of the comparative, compositional, stylistic and contextual analysis, we have come to the following conclusions: the artistic and journalistic portrait essay fully retains its genre features only in B. Zaitsev’s book “The Distant Land“, the books of two other authors contain portrait characteristics and sketches as compositional elements in the biographical and autobiographical essay. However, the fictional images created by the memoirists contribute to the strengthening of the documentary nature, vividly, clearly and realistically recreating people and their era, despite the inevitable memoir subjectivism.It is difficult to distinguish between the fictional and documentary sides of the text. In the journalistic text, each of them confirms the dual nature of the essay genre, which is at the intersection of documentary and fictional literature.

32

Blum, Philipp. „In Between Fact and Fiction. Queering the Borders of Documentary and Fiction“. Panoptikum, Nr. 29 (30.06.2023): 39–51. http://dx.doi.org/10.26881/pan.2023.29.02.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

The essay focuses on films between documentary and fiction, and their categorization by both film theory and audiences, particularly in the case of so-called mockumentaries. Using a semiotic and pragmatic perspective, I examine these films as practices of negotiating audiovisual identity in terms of genre. Drawing on Judith Butler’s concept of “queer”, I aim to describe the blurring of boundaries and the binary representation of fact and fiction in audiovisual media.

33

Brownlee, Shannon. „Imaginative Animated Non-Fiction: Educating Adults about Child Soldiers“. Animation 18, Nr. 3 (November 2023): 227–39. http://dx.doi.org/10.1177/17468477231206670.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

This case study investigates the overlapping categories of animated documentary, useful animation, and fiction inspired by real events. It analyzes a training video for adults who work with child soldiers that was created by IoM Media and the Dallaire Institute for Children, Peace, and Security. This video incorporates elements of animated narrative fiction, children’s television animation, reenactment, and photographic and auditory indexicality. Ultimately, no one form has a greater claim to the truth than the others; rather, truth is constructed through the interrelation of disparate elements, and the video’s pedagogical and activist ends are served by abstraction and anti-realism as much as by indexicality. The video also prompts wider questions about temporality and degrees of abstraction in different modes of documentary. The arguments this article presents about the case study are more broadly applicable to non-fiction animated film and to both live-action and animated documentary.

34

Gaponova, Zh K. „The synthesis of documentary and fictional codes in the story “Superpowers by inheritance: My Soviet Grandfathers” by O. Kolpakova“. Philology and Culture, Nr. 3 (04.10.2023): 99–105. http://dx.doi.org/10.26907/2782-4756-2023-73-3-99-105.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

The article studies the mechanisms of interaction between documentary and fictional codes in O. Kolpakova’s work “Superpowers by Inheritance: My Soviet Grandfathers”, considered here as a translator of intergenerational ties. The author focuses on establishing the place of the family in the history of the country in different eras, which correlates with the purpose of our study – to determine the nature of the connection between non-fiction and fiction, past and present, which are presented in the story both in a dialogic unity and in opposition. The article concludes that the complex narrative organization of the work reflects the authorial concept of family history, allowing her not only to introduce the reader to the cultural and historical realities of a particular era, which is facilitated by the popular science commentary inserts by Ivan Privalov, but also to transmit the cultural codes that form the identity of the Russians (family, historical memory, respect for elders, love for one’s country and our homeland). The analysis shows that the dialectical relation between non-fiction and fiction is realized through the motif of “stories”, the conversation with the elder relatives is organized in accordance with the narrative models of Soviet literature, which makes an organic synthesis of non-fiction and fiction possible and does not presuppose a linear unfolding of the narrative. The article analyzes the ways of representation of the documentary in the story. The superpower motif, in the author’s opinion, enables her to reach the level of mythopoetic modelling of the national cultural code, which represents traditional values in the formulas that are topical for modern teenagers.

35

Mihalopoulos, Bill. „Imamura Shōhei: Betwixt fiction and documentary − an introduction“. Asian Cinema 28, Nr. 1 (01.04.2017): 93–100. http://dx.doi.org/10.1386/ac.28.1.93_1.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

36

Wang, Jijia. „Analysis of Historical Views in The Man Who Ended History: A Documentary“. Frontiers in Humanities and Social Sciences 3, Nr. 11 (22.11.2023): 110–16. http://dx.doi.org/10.54691/fhss.v3i11.5752.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

As a highly regarded Chinese-American science fiction writer, Liu Yukun’s science fiction The Man Who Ended History: A Documentary published in 2012 combines science fiction elements with historical event against the background of Unit 731 of the Japanese Imperial Army’s violent behavior in Harbin, showcasing the views of the East and West on Chinese traumatic history. This article combines new historicism to examine the relationship between history and individuals within the text, as well as the historical views upheld by all parties.

37

Bogatikova, Yulia A. „Verisimilitude as the aspect of text perception“. Philological Sciences. Scientific Essays of Higher Education, Nr. 2 (März 2023): 54–61. http://dx.doi.org/10.20339/phs.2-23.054.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

The article presents the results of theoretical exploration of verisimilitude as a phenomenon of (non)fictional narration. Structural and stylistic analysis of textual components in books by Diane Setterfield, Flann O’Brien, Elif Batuman shows the possibility of grading literary texts as more or less fictional. The theoretical background is based on G. Genette and Tz. Todorov’s ideas on reading modes. The theoretical results of research are presented in the form of a chart that can be further used for gradual scaling of texts as fiction or nonfiction. The authors of the analyzed texts use a variety of stylistic devices that create the effect of verisimilitude in pseudo-documentary fiction or nonfictional texts. The texts are examined by means of componential analysis from the point of view of their compositional structure, paratextual additions and plot lines. The research results indicate that verisimilitude in fiction depends on the reading mode: as informative and verifiable or as supposed speech acts working in the aesthetic function of the language.

38

Jablonska, Aleksandra. „La disputa por las identidades étnicas en el cine mexicano contemporáneo“. Catedral Tomada. Revista de crítica literaria latinoamericana 5, Nr. 9 (05.01.2018): 220–52. http://dx.doi.org/10.5195/ct/2017.265.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

The article analyzes the extent to which recent mexican cinema, both fiction and documentary, have been transforming their discourse on ethnic identities in recent years. Based on a interdisciplinary methodology that articulates the categories of cinematographic analysis with those of anthropological and social studies, it tries to show some attempts to decolonize the view of indigenous peoples in fiction cinema, as well as the diverse tendencies present in the documentary film ranging from understanding the ethnic as cultural reproduction to raising the processes of resistance and the transformation of identities.

39

Lupachyova, Tatiana A., und Viktoriya V. Bereznitskaya. „Chinese Insertions Functioning in English: A Comparative Approach to Fiction and Non-Fiction Texts“. Polylinguality and Transcultural Practices 17, Nr. 2 (15.12.2020): 215–20. http://dx.doi.org/10.22363/2618-897x-2019-17-2-215-220.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

The present article is devoted to the comparative analysis of Chinese insertions functioning in fiction and non-fiction written in English based on the works of Amy Tan and Peter Hessler. As the research showed, the leading function of insertions in non-fiction was documentary function, whereas in fiction it was the function of ethnic coloring and the function of hero speech characteristics. The functions in the analyzed texts overlap and complement one another. Structurally the insertions in non-fiction feature words and phrases, in fiction they vary from interjections to significant parts of texts.

40

Lupachyova, Tatiana A., und Viktoriya V. Bereznitskaya. „Chinese Insertions Functioning in English: A Comparative Approach to Fiction and Non-Fiction Texts“. Polylinguality and Transcultural Practices 17, Nr. 2 (15.12.2020): 215–20. http://dx.doi.org/10.22363/2618-897x-2020-17-2-215-220.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

The present article is devoted to the comparative analysis of Chinese insertions functioning in fiction and non-fiction written in English based on the works of Amy Tan and Peter Hessler. As the research showed, the leading function of insertions in non-fiction was documentary function, whereas in fiction it was the function of ethnic coloring and the function of hero speech characteristics. The functions in the analyzed texts overlap and complement one another. Structurally the insertions in non-fiction feature words and phrases, in fiction they vary from interjections to significant parts of texts.

41

Newsinger, Jack. „The Interface of Documentary and Fiction: The Amber Film Workshop and Regional Documentary Practice“. Journal of British Cinema and Television 6, Nr. 3 (Dezember 2009): 387–406. http://dx.doi.org/10.3366/e1743452109001095.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

42

Easen, Sarah. „Building Reputations: The Careers of Mary Field, Margaret Thomson and Kay Mander“. Journal of British Cinema and Television 18, Nr. 4 (Oktober 2021): 498–517. http://dx.doi.org/10.3366/jbctv.2021.0592.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

Film historians have generally concentrated their research of British non-fiction film-making on the male directors and producers of the British documentary movement. This has resulted in the marginalisation of those operating in other non-fiction genres, in particular the many women documentarists who worked on educational, instructional, travel, commercial, government and industrial films from the 1930s to the 1970s. This article examines the histories of three women documentary film-makers to assess why women are frequently missing from the established accounts of the genre and argue for their inclusion. It provides an overview of women in British documentary histories, followed by case studies of three women who worked in the sector: Mary Field, Margaret Thomson and Kay Mander. It investigates their collegial networks and considers the impact of gender discrimination on their careers in order to understand why they have received so little recognition in histories of the British documentary film movement.

43

Ribke, Nahuel. „Documentary Filmmakers as Characters“. Projections 17, Nr. 3 (01.12.2023): 64–82. http://dx.doi.org/10.3167/proj.2023.170304.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

Abstract Despite the increasing documentary filmmakers’ on-screen presence in their own films, the analysis of their corporeal presence and performance in the documentary genre hasn't been fully explored yet. Following Plantinga's (2018) discussion on characterization and character in documentary film, the present article proposes to examine documentary filmmakers’ on-screen presence and performance, making three central assumptions. First, documentary filmmakers’ on-screen presence is a cinematic representation constructed in similar ways to that of other characters/subjects participating in the film. Second, documentary filmmakers’ characters are generally shaped and constructed throughout the filmmakers’ careers, much like fiction film stars. Third and last, the salience of filmmakers as characters should be understood as the outcome of major cultural, technological, and economic shifts shaping and affecting the documentary film production patterns and stylistic devices.

44

Casteel, Sarah Phillips. „Jazz Fiction and the Holocaust: Reading History for Clues in the Novels of John A. Williams and Esi Edugyan“. Holocaust and Genocide Studies 34, Nr. 2 (2020): 206–24. http://dx.doi.org/10.1093/hgs/dcaa024.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

Abstract This article draws attention to a body of fiction that expands our understanding of the Holocaust by imaginatively reconstructing the neglected experiences of Black victims of Nazi persecution. Two key examples are John A. Williams’ Clifford’s Blues (1999) and Esi Edugyan’s Half-Blood Blues (2011), both of which recall the Black jazz musicians in wartime Europe caught up in the Nazis’ genocidal campaign. Seeking to integrate their stories into the collective memory of World War II, Williams and Edugyan combine Holocaust fiction’s documentary effect with characteristic thematic and formal strategies of jazz fiction. Williams adopts the solitary voice of the troubled bluesman, while Edugyan embraces jazz’s polyvocality. Notwithstanding the risks of Holocaust analogies that Clifford’s Blues in particular exposes, both novels illustrate the capacity of jazz fiction to produce revisionary historical narratives and intervene in memory culture.

45

TYCHKO, H. „ARTISTIC FICTION AND DOCUMENTARY BASIS IN THE POEM OF A. MITZKEVICH "KONRAD WALLENROD"“. Herald of Polotsk State University. Series A. Humanity sciences 66, Nr. 1 (10.02.2023): 133–37. http://dx.doi.org/10.52928/2070-1608-2023-66-1-133-137.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

The need to update the research of fiction that uses real facts, historical events and names is substantiated. The history of the creation of A. Mickiewicz's poem "Konrad Wallenrod" is considered in the context of social and political circumstances of the first half of the 19th century in Belarus and documentary facts from the author's biography. Based on the analysis of the work, the ratio of documentary facts borrowed from historical chronicles and the author's fiction in the text is determined. The impact of the work on the value and moral dominants of that time, as well as modern society, is analyzed. The reasons for the controversial assessment of the work by contemporaries and descendants are considered. Conclusions are made about the priority role of author's fantasy and fiction in high artistic texts.

46

Skliar, Iryna, Tetiana Marchenko, Sergii Komarov, Vitalii Matsko, Liudmyla Pavlishena und Mariana Shapoval. „Psychonarative in Fiction and Documentary and Fiction Literature: the State and Prospects of Research“. Postmodern Openings 13, Nr. 3 (08.08.2022): 372–92. http://dx.doi.org/10.18662/po/13.3/495.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

The article offers an overview on the most notable features of the implementation of psychonarratives in fiction and documentary and fiction prose about the Anti-terrorist Operation (ATO) and the hybrid warfare in Donbas from the standpoint of the achievements of modern humanities, which gives intelligence a multidisciplinary nature. The degree of academic research on the outlined topics at both the world and the national scientific levels has been clarified. The contribution of the Western scientists to the development of theoretical and methodological principles of parameterization of psychonarratives is outlined. There is a tendency to increase the interest of domestic specialists in narratology, in particular psychonaratology, mainly in empirical terms. At the same time, an objective lack of thorough theoretical developments of the monographic or dissertation level on the outlined issues has been stated in Ukrainian studies. Terminological vagueness and imbalance in the interpretation of the key concepts of psychonarrative studies have been recorded. Methods and means of realization and manifestation of the psychonarratives in the text structures are established. There is a growing interest of domestic researchers in the direct or indirect consideration of narrative, psychonarrative and selfnarrative in fiction prose and documentary and fiction prose about the ATO and the hybrid warfare in the Donbas in the context of discursivity and intermediality. The peculiarities of psychonarrative expression on the formal structure and sence-content levels are indicated. The common and distinctive features of the realization of psychonarratives in fiction and non-fiction literature are briefly noted.

47

Kosińska-Krippner, Beata. „Between Fact and Fiction: Documentary Telenovela, or Docusoap Polish Style“. Kwartalnik Filmowy, Special Issue (31.12.2013): 169–88. http://dx.doi.org/10.36744/kf.1900.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Annotation:

The article deals with documentary soap operas, or the Polish version of docusoaps. This is a television genre that is a hybrid of observational documentary and elements typical of soap operas. In the introduction the author presents up to date research on docusoaps: she defines, following Margaret Lünenborg, the conditions that had to be met, in order for the genre to come into the existence, and she shows the circumstances in which it first appeared. She refers to the work of Richard Kilborn in order to present characteristic features of docusoap, and she uses the staging strategies for reality TV described by Elisabeth Klaus and Stephanie Lücke, in order to show staging strategies in docusoaps. In the main part of the article Kosińska-Krippner presents a short history of documentary soap operas, classification of its various types and the analysis of its components. She then defines this genre and describes its features. In the conclusion the author compares docusoaps and documentary soap operas, and shows the similarities and differences between the two genres, she also comments upon the value and usefulness of this genre. [originally published in Polish in Kwartalnik Filmowy 2011, no. 75-76, pp. 273-294]

48

Carrera, Pilar. „“Based on actual facts”: Documentary Inscription in Fiction Films“. Studies in Documentary Film 15, Nr. 1 (02.01.2021): 1–19. http://dx.doi.org/10.1080/17503280.2020.1854072.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

49

Niang, Sada. „Fiction and Documentary African Films: Narrative and Stylistic Affinities“. Critical Interventions 11, Nr. 3 (02.09.2017): 228–35. http://dx.doi.org/10.1080/19301944.2017.1401377.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

50

Pollacchi, Elena. „Wang Bing'sThe Ditch:Spaces of history between documentary and fiction“. Journal of Chinese Cinemas 6, Nr. 2 (Januar 2012): 189–202. http://dx.doi.org/10.1386/jcc.6.2.189_1.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen