Relevant bibliographies by topics / Documentary and fiction

Academic literature on the topic 'Documentary and fiction'

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Published: 22 June 2024

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Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Journal articles on the topic "Documentary and fiction":

1

형대조. "Between Documentary and Fiction, and these combination: Documentary Fiction or Fictional Documentary?" Film Studies ll, no. 67 (March 2016): 185–213. http://dx.doi.org/10.17947/kfa..67.201603.007.

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Ruiz Carmona, Carlos. "The Fiction in Non-Fiction Film." Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes 17, no. 2 (July 1, 2019): 10–31. http://dx.doi.org/10.7195/ri14.v17i2.1238.

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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 (November 10, 2022): 31–45. http://dx.doi.org/10.55877/cc.vol10.140.

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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.
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Shōhei, Imamura. "Betwixt fiction and documentary." Asian Cinema 28, no. 1 (April 1, 2017): 101–5. http://dx.doi.org/10.1386/ac.28.1.101_1.

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Young, Jekaterina. "Dovlatov'sCompromise:Journalism, Fiction, and Documentary." Slavonica 6, no. 2 (November 2000): 44–67. http://dx.doi.org/10.1179/sla.2000.6.2.44.

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Li, Manxi, Wenqing Su, and Xinman Li. "New Documentary Film Seeks to Be “More Real”." Scientific and Social Research 3, no. 5 (November 5, 2021): 169–73. http://dx.doi.org/10.36922/ssr.v3i5.1246.

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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.
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CHERKASHYNA, Tetiana, and Bohdan PARAMONOV. "NONFICTIONAL LITERATURE: NATURE, TYPOLOGY, TERMINOLOGY." 6, no. 6 (December 9, 2021): 72–100. http://dx.doi.org/10.26565/2521-6481-2021-6-04.

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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.
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Middleton, Jason. "Documentary Horror: The Transmodal Power of Indexical Violence." Journal of Visual Culture 14, no. 3 (December 2015): 285–92. http://dx.doi.org/10.1177/1470412915607913.

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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.
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Kosachova, O. "Historical Themes in Fiction and Documentary Cinematography: Comparative Analysis." Culture of Ukraine, no. 79 (March 23, 2023): 46–59. http://dx.doi.org/10.31516/2410-5325.079.05.

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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, no. 2 (December 31, 2014): 5–20. http://dx.doi.org/10.5117/necsus2014.2.mart.

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Journal articles Dissertations / Theses Books

Dissertations / Theses on the topic "Documentary and fiction":

1

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.

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Steinbach, Katherine. "Documentary adaptation: non-fiction transformations via cinema and television." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5643.

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Documentary and docudrama practices have expanded with increasingly convergent media. Cinema, television, and the web conspire to create new vehicles of information and entertainment. Footage is manipulated, reenacted, and narratively altered for viewers who must negotiate flexible and porous parameters of fact and fiction. Bill Nichols began a conversation about documentary’s “blurred boundaries” that has continued and intensified with scholars such as John Corner, Steven Lipkin, Alan Rosenthal, Vivian Sobchack, Derek Paget, and Jonathan Kahana. Documentary and docudrama techniques must be more closely scrutinized and categorized, with particular focus on the importance of reenactment and reflexivity. A phenomenon that illustrates explicit interaction between documentary footage and fictional affect has remained undefined. My project proposes a new term, “documentary adaptation,” to explain the use of documentary films or television programs as source material for a fictional retelling. Films such as Rescue Dawn (2006), Grey Gardens (2009), Devil’s Knot (2013), or Loving (2016) have an uncanny and indeed literary relationship to previous documentary films conveying the same story. My research reads, theorizes, and contextualizes these adaptations. I note industrial and audience demand for narrative that engages with familiar facts. These unique dramas are sites of affective engagement with history as well as contemporary journalism. The project employs cinema and media studies terms and techniques to analyze documentary adaptation, to interpret a distinct merger of cinema and television aesthetics. This dissertation revises the dilemmas of documentary and reveals an invention to confront a new era of flexible media.
3

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.

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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.

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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.

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This dissertation examines the cleared spaces after disaster and the way the rhetoric of utopian projects is taken up by corporate and privatizing ventures to mask projects that seek to shut down participation in the public sphere. Chapter one argues that there are mechanisms within societies that can push against these forces by promoting a cosmopolitan sensibility that protects the commons and respects the alterity of the Other. Such mechanisms have theoretical roots in the thinking of Robert Nozick and Fredric Jameson but have been rethought more recently by Bruce Robbins, Jean-Luc Nancy, and Seyla Benhabib. I read literature alongside documentaries and memorials to discover the way cultural texts model these methods of pushing back against neoliberal projects in the wake of 9/11 and Katrina by bringing ethics, as Emmanuel Levinas does, into "real world" situations. Projects that co-opt the commons after disaster convey a imitative cosmopolitanism that can be counteracted through giving agency to those who do not have it, constructing communities of access for the future, supporting a form of public mourning that promotes critique, and protecting post-disaster spaces from becoming only tourist destinations. Chapter two looks to the way the 9/11 fiction of Moshin Hamid, Claire Messud, Alissa Torres, Paul Auster, and Jonathan Safran Foer models a cosmopolitanism that repairs the self's relationship to the Other by allowing the Other an agency previously unavailable before 9/11. Chapter three examines how When the Levees Broke, Trouble the Water, Kamp Katrina, Katrina Ballads, A.D.: New Orleans after the Deluge, and Zeitoun foreground the vulnerability of Gulf Coast residents by linking their vulnerability to the nation's now damaged ecological relationship to the coast. Chapter four explores the cultural memory at a range of 9/11 and Katrina memorials in New York, Washington D. C., and along the Gulf Coast in order to find memorials that reinvigorate the commons by melding public mourning with critique. The epilogue examines the larger implications of my dissertation for the field of American studies in examining the culture of disaster that has arisen in the past decade.
6

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.

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En partant d'une recherche filmique sur les jeunes et l'amour dans un quartier populaire, cette thèse, entre sciences sociales et cinéma, recherche et création, soulève une question de société - comment les jeunes composent avec les normes sociales imposées par leurs groupes d'appartenance ? - et une question de cinéma - en quoi le détour par la fiction et l'improvisation permet d'enquêter sur des réalités sociales et d'imaginer d'autres façons de travailler avec les enquêtés ?Elle est basée sur une enquête ethnographique de plusieurs années dans un quartier ouvrier et d'immigration de la région parisienne (Les Mureaux, Yvelines), ainsi que sur des ateliers cinéma et le tournage d'un film (La cour des murmures) entre fiction et documentaire avec des jeunes habitants âgés de 15 à 20 ans.Dans cet espace où l'interconnaissance est très développée et chacun veille à sa réputation, les jeunes montrent difficilement leurs sentiments et sont souvent contraints de jouer un rôle social. Nous avons voulu étudier la spécificité de cette présentation de soi théâtrale, qui est à la fois une contrainte – l'injonction à adopter une attitude propre à la morale du quartier – et un mode de survie et de résistance, puisqu'elle permet aussi d'échapper aux regards des autres et de manière plus large aux normes sociales qui pèsent sur ces jeunes.Le film est l'occasion de créer un espace de parole privilégié qui permet la réflexivité. Il devient alors un moyen de co-construire la recherche avec les filmés et de sortir des représentations dominantes sur les jeunes des quartiers populaires.L'écrit revient sur les questions de société et les questions de cinéma qui ont habité cette recherche. Il rend compte de la pensée à l'œuvre dans le film, aussi bien sociologique que cinématographique. Il revient sur ses conditions de fabrication, ses choix de réalisation, ses inspirations théoriques, les « moments de vie cinématographiques » qui ont émergé dans cette recherche
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
7

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.

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Americans obtain a majority of their information about science through science films, primarily in the form of documentaries on television. However, despite the recent proliferation of these films, there is much discussion in the science filmmaking community about how ineffective these films have been lately at informing the public about science and compelling viewers to act. It is time to look at the underlying definitions of the genre from a different perspective and determine whether the current standards are the best way to successfully convey messages about science to the widest audience. To explore the possibilities for increasing the effectiveness of science filmmaking, one needs to look at the basic assumptions that come into play during the process of producing science films by re-framing the major components of the science film: goals, subject matter, audience, and format. This new set of paradigms reveals the possibility of another avenue - fiction.
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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.

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This study seeks primarily to examine three Scandinavian examples of the documentary novel. Initially I endeavour to isolate certain purported characteristics of the genre as a whole by considering which aspects of a narrative have prompted the critics to call it a 'documentary novel'. I then examine the three works in detail, applying standard techniques of literary criticism and comparing the facts on which the novels are based with the novels themselves to determine what makes them 'documentary' and what makes them 'novels'. The three novels share common techniques and all deal with the subject of Scandinavian polar exploration, but the author's relationship and attitude to the facts he has at hand are sufficiently different in each instance to permit a discussion of the literary form, ambitions and potential of the 'documentary novel'. The evidence suggests that the documentary novel uses authentic historical material but presents it through the techniques and forms of creative literature: the novelists adapt documented facts to support a view of a history which typically differs from accepted tradition. I then show that the conclusions to which this unorthodox view points, however, are invariably the same as those the authors draw about life in their other, non-documentary fictional works. Finally I demonstrate how the documentary novel is a fluid form which can be used in the service of fact, fiction or fraudulent propaganda, and I suggest a definition that embraces the three novels examined and the three kinds of documentary fiction that they represent.
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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.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
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.
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Gurses, Seyda Aylin. "'I Just Wanted You to Know': War Testifies through the Camera." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/483.

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This work is a textual analysis of selected documentary films whose common theme is the inevitable discrepancy between the realities of the Vietnam and the 2003 Iraq War from the perspectives of the veterans and soldiers, and the assumed reality that is constructed in the media. It is at this point that the inextricable link between documentary cinema and reality proved fundamental to the developing discourse of the entire study ahead. Since the manner in which the world is both transformed and depicted strongly depends upon the tools available to the director, the technological innovations and the emergence of portable cameras, by granting the documentary filmmaker flexibility, irreversibly solidified this link between non-fictional act of narrating and its approach and proximity to reality. Four works that are picked among a large body of documentary films are Winter Soldier (1972) directed by Winter Collective; Gunner Palace (2004) directed by Petra Epperlein and Michael Tucker; Full Battle Rattle (2008) directed by Tony Gerber and Jesse Moss and finally Standard Operating Procedure (2008) directed by Errol Morris. Even though the films are historically ordered, this study's concern is to be systematic thematically than chronologically. In the course of these analyses, discussions of notions like reality and truth, the relations of the makers of the films, the camera and editing process to the subjects of the films, will naturally emerge, as will issues related to the political and social roles of documentary cinema.
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Books on the topic "Documentary and fiction":

1

Beattie, Keith. Documentary screens: Non-fiction film and television. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2004.

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Barnouw, Erik. Documentary: A history of the non-fiction film. 2nd ed. New York: Oxford University Press, 1993.

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Vasilikos, Vasilēs. The coroner's assistant: A fictional documentary. New York: Pella Pub. Co., 1990.

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Binh, N. T., José Moure, and Solveig Anspach. Documentaire et fiction: Allers-retours. Bruxelles]: Les Impressions nouvelles, 2015.

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Garga, B. D. From Raj to Swaraj: The non-fiction film in India. New Delhi: Viking, 2007.

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Sauerberg, Lars Ole. Fact into fiction: Documentary realism in the contemporary novel. New York: St. Martin's Press, 1991.

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Sauerberg, Lars Ole. Fact into fiction: Documentary realism in the contemporary novel. London: Macmillan, 1991.

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Stone, Jim. Stranger than fiction. Syracuse, N.Y: Light Work, 1993.

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Haddu, Miriam, and Joanna Page, eds. Visual Synergies in Fiction and Documentary Film from Latin America. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230622159.

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Foley, Barbara. Telling the truth: The theory and practice of documentary fiction. Ithaca: Cornell University Press, 1986.

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Book chapters on the topic "Documentary and fiction":

1

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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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Conference papers on the topic "Documentary and fiction":

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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.

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The purpose of the author’s approach is to identify the characteristics of the documentary theater by referring to the traditional one. Reflecting on the concepts of theater theorists, we conclude that traditional theater is illusory, the receiver-spectator believes the fictional world produced by the theatrical performance as reality. Dramatic subjects have an integral and logical structure, with „beginning, middle and end”, the stage action succeeds in a canonical order. Unlike traditional theatre, documentary theater is anti-illusory, anti-fiction and stands out for its faithful, exact reproduction of the real, based on the investigation, research and reflection of archival documents, legislative acts, reports, court transcripts, minutes recorded at various actions, meetings, congresses, etc.; biographies; testimonies, interviews taken from the respondents-donors and transposed into an artistically unprocessed formula; cases, events that happened in an immediate reality, etc.
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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.

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The possibilities of the documentary film to fix ethnological and ethnographic phenomena in all their audiovisual integrity contributed to the realization of this category of films right from the beginnings of non-fiction cinema. At the «Moldova-film» studio, despite the very vigilant ideological conditions of the totalitarian regime, especially when it came to the cultural heritage of the native people, our filmmakers released a series of films, dedicated to customs, rituals and traditions – important components of our national identity. This category of films has been talked about and written in some specialized studies. The cinematographic works “Trânta/Wrestling” (director Anatol Codru) and “Jocurile copilăriei noastre/The Games of our Childhood” (directors Vlad Druc, Mircea Chistrugă) serve as research topic for us. They are dedicated to popular sports games, which, besides being captivating manifestations that have survived through centuries until the present, are imposed in the context of national identity, but, through this prism, the respective works have not been researched yet.
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Soares, Liliana, Ermanno Aparo, and 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.

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This paper presents the bases of a documentary about the conversion of the business sector and the performing arts in the North of Portugal, during the pandemic. The documentary intends to prove that the introduction of innovative procedures can be important to all sectors involved in society. Liquid reality (Bauman, 2005) demands constant exploration; therefore, it challenges designers to create sustainable products. Knowing that spectacle is about human connection, a process disconnected from visual culture can contribute to the public ignoring the participation of design as an area of knowledge. Between 2021 and 2022 a territorial network system was developed consisting of researchers, a lighting company, a raw materials industry, a municipality, company, a theatre, entertainment companies and a school of music of the North of Portugal. It was possible to develop systemic lighting products at the prototype level, bearing new semantic paths, performance, and interaction with people. The prototypes were developed by a lighting company. In theatre, the prototypes were joined by musicians to interpret pieces by Debussy and Dvořák. This group was joined by an actor who declaimed Mallarmé and Longfellow. The result was recorded on video by technicians and disseminated on YouTube and Instagram.The study investigates the dynamics of a creative process and its impact on the different areas involved, bringing together the testimony of the various actors in the process, challenging assumptions and bringing a new view to reality events. The golden age of documentaries happened in the 80’s (Rosenthal, Corner, 2005), and today the dissemination of documentaries happens through internet. As the documentary film never had a precise definition (Nichols, 2017), this study contributes to the autonomy of this typology of artistic production. The documentary methodology combined with the use of social networks manages to achieve a broader societal impact and in an effective way. An experimental theme related to different areas of knowledge attends a design-driven innovation (Verganti, 2009) and not a market-oriented process that could compromise the experimental factor. The documentary can become an occasion to promote discussion between the notions of science and art, fiction and non-fiction, business and art, teaching, and profession. It is intended to demonstrate that the process of cooperation between different areas is a sustainable choice that respects and values the project partners, assuming a social commitment. The film interprets the current reality, dealing with what happened before, during and after filming and conveying social interest and debate about the role of creative processes in transforming reality.The research already includes a post-doctoral, the publication of a book, a video, a promotional teaser, 2 prototypes and interviews with some stakeholders, so that it can expand its potential to a larger project with the aim of generating innovation, producing mutual sustainability between the manufacturing and the culture industries of the same region. The study could be the basis for consolidating a proposal for a future project, explaining how a design process is developed in the various stages and using a visual document that can have a strong impact on today's society.
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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.

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The article deals with satirical tendencies in Swedish literature and cinema of the end of the 20th — beginning of the 21st century. On the example of the book by C.-J. Vallgren “This is for you for a brochure, Mr. Bachmann” and R. Östlund’s paintings “Turist” (“Force Majeure”), “Voluntarily-compulsory”, “The Square” and “Triangle of Sadness”, the main problems of Swedish society are analyzed, which are becoming pan-European scale. The paper concludes that both authors consider the most significant problems to be the disappearance of independent thinking, the distortion of ethical principles, the fear of losing personal well-being against the backdrop of growing ethnic and class contradictions in Europe, indicating the beginning of a new socio-political stage in society. Comprehending European double standards, hypocrisy, ostentatious political correctness, the authors testify that European society is turning into a refined capitalist minority that has lost its main value orientation — Christian humanism. The poetics of the literary and cinematographic works of Vallgren and Östlund differ significantly from the methods of their predecessors: modern authors abandon the satirical principles of secondary convention, allowing themselves only slight exaggeration. This testifies to the desire for journalism, documentary depiction, the movement from fiction to non-fiction, to the understanding of the historical context and socio-political perspective.
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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.

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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.

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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.

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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.

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La presente comunicación propone un acercamiento al filme Touki Bouki (1973) del director senegalés Djibril Diop Mambety, utilizando las siguientes figuras sensibles de la filosofía de Jacques Rancière como prisma epistémico: la fiction documentaire (Rancière, 2001); le régimen esthétique de l’art (Ibíd., 2011); la police, la politique et le politique (Ibíd., 2003). Así, esta investigación se propone explorar las temporalidades de una ficción documental (Rancière, 2001), que resalta una ambivalencia contrariada entre; por un lado, imágenes representacionales de un contexto post-Independencia o postcolonial (Césaire, 1950) en la ciudad de Dakar (Senegal); y por otro, la proclamación de una traslación de los espacios de la diáspora (Lao-Montes, 2007) hacia una «diaspora estética» (Peffer, 2013); a través de una puesta en escena que reensambla los recursos tácitos propios de las Nouvelle Vague con un dispositivo político y social de visibilidad (Rancière, 2001) que se sabe capaz de suspender la lógica historiográfica de la subalternidad colonial (Spivak, 1985). Asimismo, pensar el filme como una propuesta de desplazamiento hacia los márgenes «pasivos» del activismo político (Rancière, 2010). Un desplazamiento hacia prácticas no-discursivas, sino estéticas. Ya no son las imágenes documentales que pretenden dotar de «mayor realidad» (Sontag, 2003) a una situación determinada, propias de la militancia del Tercer Cine (Getino & Solanas, 1969); sino, por el contrario, la correspondencia entre formas de identificación estéticas capaces de desactivar los dispositivos policiales (Rancière, 2003) y coloniales de las retóricas amo-esclavo (Han, 2005) / opresor-oprimido (Freire, 1968). Aquí, una consecución visual que oscila entre la acción política determinante y verosímil; y la vida sin razón, propia del arte estético (Rancière, 2001), que identifica formas emancipatorias basadas en la libertad del “no saber” (Mambety, 1999).
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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.

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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.

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The Killers was published in 1927 and became one of the classic works of Ernest Hemingway. The whole novel is composed of dialogues and contains profound themes in concise language but contains rich storyline and profound themes. In 1932, Hemingway proposed the famous Iceberg Theory in his documentary work as a metaphor. Then the iceberg theory soon becomes a typical theory with simple art in terms of style which is deleting the dispensable things in the novel. Therefore, the author hopes to use the classic Iceberg Theory, combining with the text, to analyze the two themes in the paper: the violent and chaotic society at the time and the sense of helplessness and despair of people. Many people were confused and puzzled about the society at that time and felt at a loss. In a chaotic society full of violence, no direction in life can be found, so people's life is helpless and desperate. So, people could appreciate the unique literature values of The Killers and further understand the dark side of the society behind it. Using the analytical perspective of Iceberg Theory can provide readers a more accurate understanding of Hemingway's creative methods which is helpful for understanding the connotation of Hemingway's fictions.

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