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Docufiction

From Wikipedia, the free encyclopedia
Moana, by Robert J. Flaherty, an early example of docufiction (1926)

Docufiction (or docu-fiction) is the cinematographic combination of documentary and fiction, this term often meaning narrative film. It is a film genre[1] which attempts to capture reality such as it is (as direct cinema or cinéma vérité) and which simultaneously introduces unreal elements or fictional situations in narrative in order to strengthen the representation of reality using some kind of artistic expression.[2]

More precisely, it is a documentary mixed with fictional elements,[3] in real time, filmed when the events take place, and in which the main character or characters—often portrayed by non-professional or amateur actors—are essentially playing themselves, or slightly fictionalized versions of themselves, in a fictionalized scenario. In this sense, docufiction may overlap to an extent with some aspects of the mockumentary format, but the terms are not synonymous.

A film genre in expansion, it is adopted by a number of experimental filmmakers.[citation needed]

The neologism docufiction[4] appeared at the beginning of the 21st century. It is now commonly used in several languages and widely accepted for classification by international film festivals.[5][6][7][8][9][10][11][12][13][excessive citations]

Robert J. Flaherty

Origins

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The term involves a way of making films already practiced by such authors as Robert J. Flaherty, one of the fathers of documentary,[14][15] and Jean Rouch, later in the 20th century.

Being both fiction and documentary,[16] docufiction is a hybrid genre,[17] raising ethical problems[18][19][20][21][22][23][24] concerning truth, since reality may be manipulated and confused with fiction (see Ethics at creative non-fiction).

In the domain of visual anthropology, the innovating role of Jean Rouch[25] allows one to consider him as the father of a subgenre called ethnofiction.[26][27] This term means: ethnographic documentary film with natives who play fictional roles. Making them play a role about themselves will help portray reality, which[28] will be reinforced with imagery. A non-ethnographic documentary with fictional elements uses the same method and, for the same reasons, may be called docufiction.

Docudrama and mockumentary

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In contrast, docudrama is usually a dramatized recreation of factual events in form of a documentary, at a time subsequent to the "real" events it portrays.[29] While docudrama can be confused with docufiction, "docudrama" refers specifically to film or other television recreations that dramatize certain events, often with actors. [citation needed]

A mockumentary is also a film or television show in which fictitious events are presented in documentary format, sometimes a recreation of factual events after they took place or a comment on current events, typically satirical, comedic or even dramatic.[30] Whereas mockumentaries are usually fully scripted comedies or dramas that merely adopt some aspects of documentary format as a framing device, docufictions are usually not scripted, instead placing the participants in a fictionalized scenario while portraying their own genuine reactions and their own improvisational dialogue and character development.

First docufictions by country

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Other notable examples

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See also

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References

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  1. ↑ An Introduction to Genre Theory Archived November 18, 2011, at the Wayback Machine by Daniel Chandler at Aberystwyth University Archived 2011-09-20 at the Wayback Machine
  2. ↑ A creative treatment of actuality Archived 2025-11-17 at the Wayback Machine – article by Peter Biesterfeld at Videomaker Archived 2020-11-29 at the Wayback Machine, 08/07/2015
  3. ↑ Il difficile rapporto tra fiction e non fiction che si concretizza nella docu-fiction Archived 2011-10-01 at the Wayback Machine (The difficult relationship between fiction and non-fiction patent in docufiction) – thesis in Italian by Laura Marchesi, Faculty of Communication Sciences (Università degli Studi di Pavia) at Tesionline Archived 2018-03-07 at the Wayback Machine, 2005/06
  4. ↑ What is docufiction? – See Section II, pages 37 to 75 (four chapters) Archived September 11, 2011, at the Wayback Machine of the thesis by Prof. Theo Mäusli
  5. ↑ Indie Matra Bhumi (The Motherland) Archived 2012-04-02 at the Wayback Machine – Cannes Film Festival
  6. ↑ Ablel Ferrara’s docufiction Archived January 19, 2012, at the Wayback Machine – Venice Film Festival
  7. ↑ The Savage Eye: White Docu-Fiction & Black Reality at Tribeca Film Festival Archived 2018-12-15 at the Wayback Machine
  8. ↑ Brian De Palma's On His Iraq Docu-Fiction Comeback Archived 2009-08-04 at the Wayback Machine at The Huffington Post Archived 2005-04-22 at the Wayback Machine – Toronto International Film Festival and Venice Film Festival
  9. ↑ Darius Mehrjui’s film Diamond 33 – Venice Film Festival
  10. ↑ New Film Events Archived 2018-01-13 at the Wayback Machine – London Short Film Festival
  11. ↑ Oscilloscope 'Howl' for Off Beat Docu-Fiction Sundance Selection Archived December 27, 2011, at the Wayback Machine at Ion Cinema Archived 2011-08-27 at the Wayback Machine
  12. ↑ Docufiction Archived 2011-09-01 at the Wayback Machine at several film festivals
  13. ↑ See: Hybrids (fiction/nonfiction films) at External links
  14. ↑ Definition of documentary – New Frontiers in American documentary (American Studies at The University of Virginia)
  15. ↑ The Impulse of Documentary-Fiction Archived March 19, 2012, at the Wayback Machine – Paper at Transart Institute Archived 2011-08-31 at the Wayback Machine
  16. ↑ (NON)FICTION AND THE VIEWER: RE-INTERPRETING THE DOCUMENTARY FILM Archived 2012-03-25 at the Wayback Machine – Paper by Tammy Stone, Avila University Archived 2014-03-09 at the Wayback Machine
  17. ↑ See hybrid genre Archived September 11, 2011, at the Wayback Machine – page 50, thesis on docufiction by Prof. Theo Mäusli
  18. ↑ Open-ended Realities Archived 2012-03-31 at the Wayback Machine – article by Luciana Lang at Latineos Archived 2011-09-03 at the Wayback Machine
  19. ↑ The appeal of hybrid documentary forms in West Africa Archived 2012-01-11 at the Wayback Machine at Project Muse Archived 2014-05-06 at the Wayback Machine
  20. ↑ Ethics and Documentary Filmmaking – Article by Marty Lucas at Center for Social Media (American University in Washington, D.C.)
  21. ↑ On Ethics and Documentary: A Real and Actual Truth Archived 2011-08-09 at the Wayback Machine – Article by Garnet C. Butchart at Cultural Studies Program, Trent University, Peterborough, Ontario, Canada, published University of South Florida Archived 2011-08-30 at the Wayback Machine
  22. ↑ What to Do About Documentary Distortion? Toward a Code of Ethics Archived 2012-03-23 at the Wayback Machine – Article by Bill Nichols at Documentary.org Archived 2011-07-09 at the Wayback Machine
  23. ↑ Documentary Film Prompts-Ethics in Documentary/Fiction vs. Documentary Archived 2012-04-02 at the Wayback Machine – Paper by Ardavon Naimi at University of Texas at Dallas Archived 2012-04-02 at the Wayback Machine
  24. ↑ Ethics and Filmmaking in Developing Countries Archived 2021-05-13 at the Wayback Machine at Unite For Sight Archived 2020-02-19 at the Wayback Machine
  25. ↑ Jean Rouch 1917-2004, A Valediction Archived 2014-03-04 at the Wayback Machine – Article by Michael Eaton at Rouge Archived 2003-02-08 at the Wayback Machine
  26. ↑ Glossary Archived 2019-04-30 at the Wayback Machine at MAITRES_FOUS.NET
  27. ↑ Jean Rouch and the Genesis of Ethnofiction, thesis by Brian Quist, Long Island University
  28. ↑ "Ethnofiction: drama as a creative research practice in ethnographic film." Journal of Media Practice 9, no. 3(2008), eScholarID:1b5648, article by Johannes Sjöberg
  29. ↑ See Docudrama: the real (his)tory Confusion of genres Archived 2011-09-06 at the Wayback Machine – Page 2 on the thesis by Çiçek Coşkun (New York University School of Education)
  30. ↑ A television programme or film which takes the form of a serious documentary in order to satirize its subject. – definition at The Free Dictionary and Dictionary.com
  31. ↑ Why 'Moana,' the First Docufiction in History, Deserves a New Life Archived 2016-05-03 at the Wayback Machine – article by Laya Maheshwari at Indiewire, July 3, 2014
  32. ↑ Note, however, that Flaherty's earlier film, Nanook of the North from 1922, incorporates many docufiction elements, including the "casting" of locals into fictitious "roles" and family relationships, as well as anachronistic hunting scenes
  33. ↑ Maria do Mar Archived 2017-02-11 at the Wayback Machine at IMdb
  34. ↑ L'Or des mers at IMdb
  35. ↑ "Zombie and the Ghost Train (1991)Review/Film Festival; How a Zombie Became One With Alcohol and Self-Pity". Archived from the original on 2013-10-12. Retrieved 2017-02-07.
  36. ↑ Boys Soldiering in an Army of Crime Archived 2012-07-08 at the Wayback Machine – article by Stephen Holden Archived 2020-09-24 at the Wayback Machine, NY Times, January 17, 2003
  37. ↑ How the Arab Spring Changed the Arab Screen and Why You Need to Start Paying Attention Archived 2018-04-28 at the Wayback Machine – review by Ronan Doyle Archived 2020-09-29 at the Wayback Machine, November 5, 2013
  38. ↑ Trying to find beauty in the darkness of Iraq Archived 2018-10-21 at the Wayback Machine review by Salar Jaff and Ned Parker at Los Angeles Times, June 23, 2011
  39. ↑ Biggs, Andrew (July 21, 2019). "What's past is prologue". Bangkok Post. Archived from the original on 2023-10-11. Retrieved November 17, 2024. pseudo-documentary
  40. ↑ French, Philip (20 July 2013). "Tabu". The Guardian.
  41. ↑ "Robert J. Flaherty, Who Blurred the Line Between Nonfiction and Fiction in Film". NY Times. 3 August 2016.
  42. ↑ Ala-Arriba! Archived 2018-01-19 at the Wayback Machine at IMDb Archived 2018-02-19 at the Wayback Machine
  43. ↑ Crowther, Bosley (1948-09-29). "' Luisiana Story,' a Flaherty Film About a Boy in the Bayou Country, at the Sutton". NY Times. Archived from the original on 2018-04-28. Retrieved 2018-04-27.
  44. ↑ Out of the Bowery’s Shadows (Then Back In) Archived 2018-03-24 at the Wayback Machine – article by Dave Kehr, February 24, 2012
  45. ↑ One drink over the line – article by J.R. Jones Archived 2018-04-27 at the Wayback Machine at the Chicago Reader, February 16, 2012
  46. ↑ "Cruel Camera, FAKERY in Wildlife Documentaries". Canadian Broadcasting Corporation. CBC news, the fifth estate. 2008-11-26. event of 1958. Archived from the original on 2009-01-31.
  47. ↑ The Film Is the Search: J. Hoberman on Jean Rouch's Moi, Un Noir Archived 2018-04-28 at the Wayback Machine – article by J. Hoberman, Artforum International, November 2015
  48. ↑ "Chicago Cinema Forum". Cine-file.info. 2007-08-29. Archived from the original on 2012-04-02. Retrieved 2012-08-29.
  49. ↑ India: Matri Bhumi Archived September 5, 2008, at the Wayback Machine – Article by Doug Cummings at Filmjourney Archived 2015-10-29 at the Wayback Machine (March 18th, 2007)
  50. ↑ Digitally cleaned 'India, Matri Bhumi' screened at Vienna film festival – Article at IBN Live
  51. ↑ Christopher, Rob (2007-08-29). "Q: What Do You Call a Movie That's Getting Its Chicago Premiere 48 Years After Being Made?". Chicagoist. Retrieved 2012-08-29.{{cite web}}: CS1 maint: deprecated archival service (link)
  52. ↑ McClune, Caitlin (2014). "Come Back, Africa: The Films of Lionel Rogosin, Volume II (Review)". The Moving Image. 14 (2): 118–120. Archived from the original on 2018-04-28. Retrieved 2018-04-27.
  53. ↑ The Human Pyramid Archived 2019-09-08 at the Wayback Machine at IMdb.
  54. ↑ See Acto da Primavera
  55. ↑ Belarmino Archived 2016-10-30 at the Wayback Machine – reference note at Letterbox Archived 2020-04-07 at the Wayback Machine
  56. ↑ David Holzman's Diary Archived 2018-06-24 at the Wayback Machine – review by Jaime N. Christley at Slant Magazine, June 13, 2011
  57. ↑ I clowns: Fellini's Mockumentary – article at The Artifice Archived 2015-12-07 at the Wayback Machine
  58. ↑ Revue Archived 2015-12-22 at the Wayback Machine by Jamie Havlin at Louder than War Archived 2015-12-08 at the Wayback Machine
  59. ↑ Frames from scenes Archived 2015-12-22 at the Wayback Machine at MMM Archived 2015-12-22 at the Wayback Machine
  60. ↑ Trevico-Torino (viaggio nel Fiat-Nam at IMdb
  61. ↑ Despite success of Les Ordres, filmmaker Michel Brault preferred fact to fiction – article by Robert Everett-Green Archived 2018-04-26 at the Wayback Machine at The Globe and Mail Archived 2018-04-27 at the Wayback Machine, April 14, 2017
  62. ↑ Lives more interesting than movies Archived 2018-04-28 at the Wayback Machine – article by Don Shewey Archived 2018-04-28 at the Wayback Machine, Soho News, June 18, 1980
  63. ↑ Trás-os-Montes Archived 2012-10-02 at the Wayback Machine at Harvard Film Archive Archived 2012-12-31 at the Wayback Machine by António Reis and Margarida Cordeiro
  64. ↑ António Reis and Margarida Cordeiro Archived 2022-01-25 at the Wayback Machine at UCLA
  65. ↑ Rep Pick: Ana Archived 2014-07-12 at the Wayback Machine – Review by Aaron Cutler at The L Magazine
  66. ↑ After the Axe Archived 2017-04-07 at the Wayback Machine at IMDb
  67. ↑ After the Axe Archived 2018-04-28 at the Wayback Machine – reference note with film online by Sturla Gunnarsson, National Film Board of Canada
  68. ↑ The Masculine Mystique Archived 2018-04-28 at the Wayback Machine - reference note with film online by John N. Smith Archived 2018-04-28 at the Wayback Machine and Giles Walker Archived 2018-04-28 at the Wayback Machine, National Film Board of Canada
  69. ↑ Screen: '90 Days,' Canadian comedy Archived 2018-04-28 at the Wayback Machine – review by Janet Maslin, NY Times, 1986
  70. ↑ Sitting in Limbo – reference note with film at Reel Canada
  71. ↑ Gwynne Dyer: A shortage of sperm – commentary by Gwynne Dyer Archived 2018-04-28 at the Wayback Machine, December 2012
  72. ↑ Train of Dreams – reference note at ONF Archived 2023-02-14 at the Wayback Machine
  73. ↑ Train of Dreams Archived 2017-02-11 at the Wayback Machine at the [IMDb]
  74. ↑ Welcome to Canada – reference note by John N. Smith at ONF Archived 2016-06-12 at the Wayback Machine with film online
  75. ↑ The Company of Strangers Archived 2018-04-28 at the Wayback Machine – reference note at ONF Archived 2016-06-12 at the Wayback Machine with film for download
  76. ↑ Life, and Nothing More – review by Tina Hassannia Archived 2018-06-26 at the Wayback Machine at Inreviewonline Archived 2018-04-02 at the Wayback Machine, September 5, 2011
  77. ↑ On the Knife’s Edge: Pedro Costa’s In Vanda’s Room – review by Travis Hoover Archived 2015-09-05 at the Wayback Machine at Slant Magazine, July 5, 2007
  78. ↑ In Vanda's Room Archived 2018-04-28 at the Wayback Machine – review by Richard Brody at The New Yorker Archived 2009-11-27 at the Wayback Machine
  79. ↑ "The Herald, March 2025". Internet Archive. August 2001. Retrieved March 24, 2025.
  80. ↑ "Tutto in un giorno on the edge of reality". la Repubblica. July 26, 2001. Archived from the original on March 28, 2025. Retrieved March 24, 2025.
  81. ↑ "Tutto in un Giorno – Avvenire". Internet Archive. October 2001. Retrieved March 24, 2025.
  82. ↑ Filiberto Molossi (7 October 2002). "Squarcia, the Winning TV". Internet Archive. Retrieved March 24, 2025.
  83. ↑ "8-09-04-02 Gazzetta di Parma". Internet Archive. Retrieved March 24, 2025.
  84. ↑ "Tutto in un Giorno – Il Giornale". Internet Archive. Retrieved March 24, 2025.
  85. ↑ Tiziana Leone (26 July 2001). "Tutto in un Giorno – Il Secolo XIX". Internet Archive. Retrieved March 24, 2025.
  86. ↑ "Tutto in un giorno (2004)". IMDb. Archived from the original on April 16, 2025. Retrieved March 24, 2025.
  87. ↑ "Tutto in un giorno". CinemaItaliano.info. Retrieved March 24, 2025.
  88. ↑ Ten Archived 2021-02-15 at the Wayback Machine – review by Roger Ebert, April 11, 2003
  89. ↑ Ten – review by Peter Bradshaw, The Guardian, 27 Sep 2002
  90. ↑ Ten Archived 2018-04-28 at the Wayback Machine – review by Rolando Caputo Archived 2018-04-29 at the Wayback Machine at Senses of Cinema, December 2003
  91. ↑ Life, Assembled One Room at a Time review by Manohla Dargis, NY Times, August 3, 2007
  92. ↑ Colossal Youth is a colossal confusion – review by Samuel Wigley, April 29, 2008
  93. ↑ Criminals Gone Wild Archived 2018-12-26 at the Wayback Machine review by Logan Hill, NY Magazine, January 7, 2008
  94. ↑ Crime Porn (With Simulated Action) Archived 2018-12-26 at the Wayback Machine – review by , January 7, 2008
  95. ↑ Our Beloved Month of August – review by Peter Bradshaw at The Guardian, January 28, 2018
  96. ↑ film/review/our-beloved-month-of-august Our Beloved Month of August Archived 2018-04-28 at the Wayback Machine – review by Glenn Heath Jr. Archived 2018-04-28 at the Wayback Machine at Slant Magazine, September 7, 2010
  97. ↑ "A meditation on what it means to be marginal". Montreal Gazette, May 29, 2009.
  98. ↑ A Study of Time, Love and Decay in Genoa Archived 2018-04-28 at the Wayback Machine – review by Stephen Holden, August 3, 2011
  99. ↑ The Wolf's Mouth – review by Neil Young at The Hollywood Reporter, October 14, 2010
  100. ↑ Closed Curtain review – Iranian auteur confronts depression and creativity – review by Mark Kermode, The Guardian, September 6, 2015
  101. ↑ ‘Closed Curtain’ Directed8 by Jafar Panahi And Kambuzia Partovi – review by Christopher Bell at IndieWire, July 10, 2014
  102. ↑ Romney, Jonathan (November 1, 2015). "Taxi Tehran review – Jafar Panahi's joy ride". The Observer.
  103. ↑ Jafar Panahi’s Remarkable “Taxi” Archived 2017-10-18 at the Wayback Machine – review by Richard Brody, New Yorker, October 13, 2015
  104. ↑ "Tuktuq – Film de Robin Aubert" Archived 2017-10-28 at the Wayback Machine. Films du Québec, March 2, 2017
  105. ↑ "«Mad Dog Labine»: irrésistiblement «rough»". Le Devoir, April 6, 2019

Sources and bibliography

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Theses

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Articles and essays

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Cited works

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  • Wikimedia Commons logo Media related to Docufiction at Wikimedia Commons
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