scholarly journals Literary Specifics of Biographical Film Story: On the Issue of Genre Heredity

2021 ◽  
pp. 28-47
Nataliia Nikoriak ◽  
Aliona Matiychak

The genre heredity concept is articulated on the analysis example of I. Drach’s screen version of the biographical film story “I’m coming to you” (1970), dedicated to the 100th anniversary of Lesya Ukrainka. The film is marked by innovative approach of I. Drach as a scriptwriter to the image of the poetess. Contrary to the tradition of documentary film to interpret her biography in a certain matrix key (as a fighter and revolutionary), Drach tried to identify Lesya Ukrainka primarily as a private individual, as the woman who knew how to sacrifice herself for the sake of love. Without aiming to show in detail the entire biography of the poetess, the author of the film story chose only a small fragment of her life – four years 1897–1901. In terms of biopic genre heredity, the article observes how this biographical film presents possible ways of processing and contamination of available documentary material (letters, memoirs, reminiscences of contemporaries) and integral creation by Lesya Ukrainka (her poetry, translations, renditions). Hence, the biopic on the basis of multi-genre text material appears as a kind of intertextual plexus. At the same time, the film pays much attention to the feelings, thoughts, creative impulses and state of mind of the heroine. By analogy with the poetics of literary writing, the form of the poetess’ inner monologue was chosen in accordance with the portrait film genre. It is clear that through the prism of Lesya’s life and creative experience the personal attitude of the poet I. Drach emerges towards understanding and reproducing the figure of creative personality in art: the author’ vision logically leads to those biographical episodes that in the existential sense appear the most significant.

Marija Vujović ◽  
Anka Mihajlov Prokopović

Prior to becoming the most dominant cultural product of the modern age, the film began its history as a journalistic concept. The first films made by the brothers Auguste and Louis Lumière in the late 19th century were documentaries. The first film made at the beginning of the 20th century in Serbia was also a type of a newsreel, a documentary. Some of the first cinema owners and cinematographers were journalists. This paper explains the development of documentary film in Serbia, which, in addition to being a film genre, also became a television genre in the second half of the 20th century. The goal of this paper is to show the development path starting from the first feature film and newsreel, to television news - one of the most frequent TV programs of the moment – by using the example of Serbia.

Victor Evans

African American queer cinema was born as a reaction to the AIDS/HIV epidemic as well as the blatant homophobia that existed within the Black community in the 1980s. It began with the pioneering works of queer directors Isaac Julien and Marlon Riggs and continued during the new queer cinema movement in the 1990s, particularly including the works of lesbian queer director Cheryl Dunye. However, these works were infinitesimal compared to the queer works featuring primarily White lesbian, gay, bisexual, transgender, and queer (LGBTQ) protagonists during that time. That trend continues today as evidenced by looking at the highest-grossing LGBTQ films of all times: very few included any African American characters in significant roles. However, from the 1980s to the 2020s, there have been a few Black queer films that have penetrated the mainstream market and received critical acclaim, such as The Color Purple (Spielberg, 1982), Set It Off (Gary, 1996), and Moonlight (Jenkins, 2016), which won the 2018 Academy Award for Best Picture. The documentary film genre has been the most influential in exposing audiences to the experiences and voices within the African American queer communities. Since many of these films are not available for viewing at mainstream theaters, Black queer cinema is primarily accessed via various cable, video streaming, and on-demand services, like Netflix, Hulu, and HBO.

2014 ◽  
Vol 9 (1) ◽  
pp. 77-106 ◽  
Peter Ole Pedersen ◽  
Jan Løhmann Stephensen

Abstract The seminal work of pioneering avant-garde filmmaker Dziga Vertov, The Man with the Movie Camera (Chevolek s kino-apparatom, 1929) has given rise to a number of discussions about the documentary film genre and new digital media. By way of comparison with American artist Perry Bard’s online movie project entitled Man With a Movie Camera: The Global Remake (2007), this article investigates the historical perspective of this visionary depiction of reality and its impact on the heralded participatory culture of contemporary digital media, which can be traced back to Russian Constructivism. Through critical analysis of the relation between Vertov’s manifest declarations about the film medium and his resulting cinematic vision, Bard’s project and the work of her chief theoretical inspiration Lev Manovich are examined in the perspective of ‘remake culture,’ participatory authorship and the development a documentary film language. In addition to this, possible trajectories from Vertov and his contemporary Constructivists to recent theories of ‘new materialism’ and the notion of Man/Machine-co-operation is discussed in length.

2018 ◽  
Vol 2 (1) ◽  
pp. 1
Witriani Witriani

As a study, documentary film is often used as a reference because of its historical, social, cultural and political representation which signifies the facts in society. It is no wonder that the production as well as the analysis of the film genre and its development around the world have created such debate, including in the academic realm. The film The Act of Killing is one of them. Directed by an American filmmaker, Joshua Oppenheimer, the film tries to reveal the other facts of Indonesian history which have been covered and never imagined before, especially, the implications of Indonesian Communist Party (PKI) massacre in 1965. Taking the testimony of the actors, the film is quite controversial because it tells and descibes kind of sadism and human rights violations on PKI elements and other ethnicity. Thus it changes the world opinion about the Indonesian history in 1965. However, as a construction, film is a film. Sometimes, there is always a bias. What depicted in a film is a result of the cineast interpretation of historical events that may be different from other point of view. For instance, a contradictory between humanity and ideology has created a discourse among the viewers. While the director focus on a violation of human rights and set everything based on this perspectives, the actors or the perpetrators feel that what they did was a form of struggle to defense the country.

2020 ◽  
pp. 120
Jasper Vanhaelemeesch

Contemporary Central American film cultures can be conceptualised as postconflict, and post-Third-Worldist (Shohat, 2004), small (Hjort & Petrie, 2007) cinemas that, in absence of strong state-regulated support structures, have come to rely heavily on their relations to national and regional film festivals (Ahn, 2012). This paper introduces findings gained through ethnographic fieldwork at film festivals in the Central American and Spanish Caribbean regions, with a focus on the ACAMPADOC International Documentary Film Festival in Panama, the only film festival in the region dedicated exclusively to the documentary film genre. The paper also briefly refers to data from on-going research that maps Central American films and filmmakers in a basic network analysis. The reported findings broadly cover what are identified as five areas of concentration in the study of film festivals, based on the understanding of festivals as nodal interfaces for film cultures (Iordanova, 2015).

2019 ◽  
Vol 8 (2) ◽  
pp. 440
Desak Putu Yogi Antari Tirta Yasa ◽  
I Nyoman Payuyasa

AbstrakFilm dokumenter merupakan sebuah film yang menyajikan fakta kepada penontonnya dan dapat menjadi sebuah media kampanye mengenai suatu permasalahan. Film The Cove menampilkan kekejaman industri penangkaran dan pertunjukkan lumba-lumba dari sudut pandang seorang aktivis bernama Richard O’ Barry. The Cove kemudian tidak hanya menjadi sebuah film dokumenter, tapi juga menjadi media kampanye untuk bergerak melawan kekejaman terhadap industri tersebut. Metode yang digunakan dalam penelitian ini adalah metode kualitatif, dimana metode analisis data yang digunakan adalah metode kualitatif-interpretatif. Teori yang digunakan dalam penelitian ini adalah teori mengenai film dokumenter, genre dan gaya film dokumenter, unsur-unsur film dan teori komunikasi terkait dengan kampanye. Film The Cove menggunakan gaya participatory atau yang dikenal dengan istilah observasi partisipan. Gaya ini dapat membawa penonton merasa berada pada situasi yang sama dengan pembuat film sehingga dapat menimbulkan pengaruh yang kuat dalam diri penonton. Unsur-unsur dalam film The Cove terdiri dari unsur visual dan unsur verbal, dimana kedua unsur tersebut membangun satu kesatuan dalam film. Pemanfaatan The Cove sebagai media kampanye penyelamatan lumba-lumba mampu memberi dampak yang kuat di masyarakat berkat pemilihan gaya dokumenter serta pemanfaatan unsur visual dan verbal film yang tepat, sehingga pesan penyelamatan lumba-lumba dapat sampai kepada masyarakat.Kata Kunci: film dokumenter, media kampanye, cove.AbstractDocumentary film is a film that presents the facts to the audience and can be a media campaign about an issue. The Cove film shows the cruelty of the captivity industry and dolphin shows from the point of view of an activist named Richard O 'Barry. The Cove then not only became a documentary film, but also became a media campaign to move against cruelty to the industry. The method used in this study is a qualitative method, where the data analysis method used is a qualitative-interpretative method. The theory used in this study is the theory of documentary film, documentary film genre and style, elements of film and communication theory related to the campaign. The Cove film uses a participatory style, known as participant observation. This style can bring the audience to feel in the same situation as the filmmaker so that it can cause a strong influence in the audience. The elements in the film The Cove consist of visual elements and verbal elements, where the two elements build a unity in the film. Utilization of The Cove as a media campaign to save dolphins can have a strong impact on the community thanks to the selection of documentary styles and the use of appropriate visual and verbal elements of the film, so that the message of saving dolphins can reach the public.Keywords: documentary film, campaign media, cove. 

2021 ◽  
Vol 11 (1) ◽  
pp. 56-98
Nataliia G. Stsiazhko ◽  

The prevailing view in modern film studies is that television documentary drama (docudrama) is either a hybrid, a synthesis, or a documentary film genre. The author of the article hypothesizes that docudrama has long exceeded the boundaries of documentary films and asserted its own place in the system of screen arts on par with feature films, documentaries and animated films. The author claims that docudrama is a unique phenomenon generated by television and it combines all the modern innovations in cinema. Docudrama allows for the text information to be reformatted into an audio-visual experience in an emotional, spectacular and accurate way, therefore possessing the inherent features of other screen arts. Like other forms of screen arts, it forms an image capable of evoking certain emotions and makes the viewer think and draw their own conclusions. The combination of artefacts and quotes adds volume and artistic value to the image. The article explores the genesis and development of television docudrama and gives it a definition based on key characteristics. It shows how films of various genres can be created within docudrama, proving that docudrama is not a subgenre within the genre of documentary film but a new independent branch of screen arts. The author highlights that the reason for the popularity of docudrama lies in the fact that the historical and informative material, which can be interesting and useful to the viewer, is presented in a spectacular and lightweight form. This idea is supported through the analysis of the documentary drama trilogy The Chronicle of the Minsk Ghetto, in which an image of the Holocaust, the unspeakable tragedy of the Jews during the Second World War, is shown.

2016 ◽  
Vol 41 (2) ◽  
pp. 118-132
Jon Dart ◽  
Philip McDonald

The Class of ’92 is a documentary film featuring six Manchester United F.C. players who recount their time during a pivotal period for the club, English football and English society. The documentary claims to offer a commentary on Britain in the 1990s, but appears, without acknowledging the fact, to be a promotional vehicle to establish the six men as a brand labeled the Class of ’92 (CO92). Creating this brand necessarily involved presenting a selective account of their time and places with the film being little more than an advertisement, masquerading as an observational documentary. The film draws freely upon the symbolic capital held by the club and the city of Manchester and uses the Busby Babes/Munich chapter and the more recent “Madchester scene” to forge the Class of ’92 brand by editing out those elements that did not accord with this project. The article argues that a more complete representation of ’90s Britain, while disrupting the intended narrative, would acknowledge the significant structural and commercial changes experienced by the club, the sport, and the city in the last decade of the 20th century. We suggest that the Class of ’92 invites the viewer to consider how the documentary film genre can contribute to brand development and promotion.

Sign in / Sign up

Export Citation Format

Share Document