By Gary Don Rhodes and John Parris Springer, Gary Don Rhodes, John Parris Springer
Via many of the twentieth century, the excellence among the fictitious narrative movie and the documentary used to be vigorously maintained. The documentary culture built aspect by means of part with, yet within the shadow of, the extra commercially profitable function movie. within the latter a part of the century, despite the fact that, the 2 types merged now and again, and mockumentaries (fictional works in a documentary structure) and docudramas (reality-based works in a fictional layout) grew to become a part of the movie and tv landscape.
The 18 essays right here research the relationships among narrative fiction movies and documentary filmmaking, targeting how every one motivated the opposite and the way the 2 have been merged in such various movies and exhibits as Citizen Kane, M*A*S*H, this can be Spinal Tap, and Destination Moon. issues comprise the docudrama in early cinema, the economic movie as pretend documentary, the phobia evoked in Fifties technology fiction motion pictures, the marketing of "reality" in mockumentaries, and fact tv and documentary kinds. The essays offer a starting place for major rethinking of movie historical past and feedback, providing the 1st major dialogue of 2 rising and more and more very important genres.
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Extra info for Docufictions: Essays On The Intersection Of Documentary And Fictional Filmmaking
That Porter’s films occupied an unspecified generic space between narrative and actuality is evident in the advertising strategies used to sell these films to exhibitors, as these excerpts from the Edison catalogue show. The Life of an American Fireman (¡903) In giving this description to the public we unhesitatingly claim for it the strongest motion picture attraction ever attempted in this length of film. It will be di‡cult for the exhibitor to conceive the amount of work involved and the number of rehearsals necessary to turn out a film of this kind.
Motion pictures gradually became a narrative art form for commercial rather than artistic reasons, a fact which must be considered in order to fully understand film as either a form of art or commerce. Arguably all films are both records (of what is placed in front of the camera) and representations (a selection and arrangement of textual elements and devices). But at a certain point in the development of film as a commodity it became advantageous to acknowledge, even promote the fact that motion pictures provided much more than a mere recording of objects and events placed in front of the camera.
In other words, the bandits’ rence can be seen in this image from The Great scenes are more interesting to watch Train Robbery (¡903). 38 Docufictions because of the way they are staged and shot; their style marks them as, in some sense, privileged moments in the narrative. In contrast to the bandits, the other characters— the telegraph operator, the engineer, the railroad employee guarding the safe — are all weak and ine›ectual as defenders of law and order. The passengers who are robbed at gunpoint in scene 6, figures of middle class a·uence, cringe before the bandits until one of them panics and attempts to flee, only to be gunned down by one of the bandits.