THESIS PART ONE Theoretical Perspectives of the Narrativization of Actuality (original) (raw)

Tracing the Truth Within the Blurring Borders of Fiction and Documentary

2014

Reality seems to be lost its reliability and authenticity within the simulation era where the distinction between the real and unreal is blurred and we have difficulty to find the truth while being surrounded by the mess of hyper-reality. The ‘thing ” that we consider as cinema today, is a tangible allegory of life ranging from politics to wars and religions to economy which are all captured by a cinematographic form. It’s increasingly being difficult to perceive for the spectator to make distinction between virtual world and the real one. This paper aims to draw the attentions to this dilemma of modern subject and analyze the films 9/11 (documentary) and Swordfish(fiction) from this point of view.

The Ontology of Replay: The Zapruder Video and American Conspiracy Films

Teorija in praksa, 2013

The Zapruder video is a visual sampling of a traumatic event that needs to be repeated, retold, and reframed in an endless hermeneutic process. The document revealed that the replay offers the possibility of a different cinematic time, and thus a different way of re-constructing actual events. Several US conspiracy films of the 1970s organize their narrative through the replay, rather than the more traditional figure of the flashback. This study explores how the communicational experience of Kennedy’s assassination created an epistemological break, an unprecedented interrogation about the ability of the image to reveal the deep nature of events.

From Evidence to Re-enactment: History, Television and Documentary Film

There has been a significant increase in the number of history programmes and documentary films about history shown on television since the 1990s. This is due to technological and institutional changes in international television but also to the wider commodification of history. The new technological means and approaches have also provided new opportunities for filmmakers in the field of history documentaries. In this article, we are interested in the role of history in television and documentary filmmaking in general, and in how developments in television and documentary filmmaking have affected the nature of historical documents on television. We explore new forms of film, such as re-enactments, reality-experiential history documentaries, mockumentaries and counterfactualities. What is the relationship between history documentaries and academic historical research? What do these changes mean from the point of view of both academics and filmmakers? We approach the question from the...

Truth in cinema

The role of truth in cinema has been disputed for years. Indeed, a filmmaker’s world view is implicitly or explicitly shown in their work, thus, there can never be a truly objective text. To expand, a director’s political affinities, social upbringing, and economic background all enter into the creative process, while simultaneously, the numerous artistic decisions made by the director on the set have a direct influence on the presentation and the ideology of a film .Hence, it is undeniable that popular American Filmmaker Oliver Stone takes ideological stances in his films, and this is best illustrated in his 1991 film JFK, which promotes a conspiracy theory of John F Kennedy’s assassination. Stone’s cinematic ethos in the film involves interposing real documentary footage and photographs, with new scenes shot in black and white, therefore, making it virtually impossible for viewers to detect the difference between the actual 1963 scenes and the reenactments .

The politics of fictionality in documentary form: The Act of Killing and The Ambassador

This essay sets out to do two related things: to investigate how the documentary films The Act of Killing and The Ambassador challenge the political and ideological ground of their audiences through radical experiments with documentarist strategies and fictional discourse. In order to carry out this investigation, the essay, secondly, presents and further elaborates a new way of approaching and making sense of fictional discourse using the concept of 'fictionality' , an approach inspired by The Rhetoric of Fictionality by Richard Walsh and recently developed further by