Documentary fiction

2003 ◽  
pp. 43-70
Keyword(s):  
Documentary Fiction

Journeys on Screen

2018 ◽  
Keyword(s):  
New Media ◽  
Social Transformation ◽  
Special Focus ◽  
Formal Property ◽  
Art Cinema ◽  
The Road ◽  
Formal Element ◽  
Contextual Element ◽  
Documentary Fiction ◽  
Self Discovery

This collection seeks to position the journey as a persistent presence across cinema, and fundamental to its position within modernity. It addresses the innovative appeal of journey narratives from pre-cinema to new media and through documentary, fiction, and the spaces between. Its examples traverse different regions and cultures, including a sub-section dedicated to Eastern Europe, to illuminate questions of belonging, diaspora, displacement, identity and memory. It considers how the journey is a formal element determining art cinema and popular genres such as sci-fi, romance and horror alike, with a special focus on rethinking the road movie. Through this variety, the collection investigates the journey as a motif for self-discovery and encounter, an emblem of artistic and social transformation, a cause of dynamism or stasis and as evidence of autonomy and progress (or their lack). The essays in it thus document epochal changes from urbanisation, migration and war to tourism and shopping, and all aim to address the diversity of cinematic journeys through developing methodological frameworks appropriate to an understanding of the journey as simultaneously a political question, contextual element and a formal property.

scholarly journals Slovene migrant literature in Australia

2002 ◽  
Vol 35 (1-2) ◽  
pp. 5-11
Author(s):  
Igor Maver
Keyword(s):  
Second World War ◽  
World War ◽  
Creative Fiction ◽  
Migrant Literature ◽  
Documentary Fiction ◽  
Division Line ◽  
Points Of View ◽  
High Literature ◽  
Second World

This article on the literary creativity of Slovene rnigrants in Australia after the Second World War, including the most recent publications, discusses only the most artistically accomplished auth­ ors and addresses those works that have received the most enthusiastic reception by the critics and readers alike. Of course, those who are not mentioned are also important to the preservation of Slovene culture and identity among the Slovene migrants in Australia from a documentary, histori­ cal,or ethnological points of view. However, the genresfeatured here include the explicitly literary, the semi-literary fictionalized biography, the memoir and documentary fiction, and the literary journalistic text - all those fields and genres that nowadays straddle the division line between 'high' literature and so-called 'creative fiction'. 

En Route to Fortress Europe: Migration and Exilic Life in Roadblocks

2020 ◽  
pp. 79-102
Author(s):  
Philip E. Phillis ◽  
Philip E. Phillis
Keyword(s):  
Pull Factors ◽  
Push And Pull Factors ◽  
Transnational Mobility ◽  
Documentary Fiction ◽  
Fortress Europe ◽  
Push And Pull

Following a discussion on what happens at the Greek-Albanian border, the author examines issues of transnational mobility in the seminal Roadblocks/Kleistoi Dromoi (2000) considering the routes of migration that the film’s Kurdish refugees tread on their way to Greece and Italy. The author here is interested in the notion of mobility impeded by borders that transform a journey of hope into nightmare and how this is actualized through the director’s original blend of documentary, fiction, conventional and experimental filmmaking. In order to further comprehend the contours of the migrant journey in Roadblocks, one needs to examine the push and pull factors of Kurdish migration. We take under consideration then the concept of the migrant imagination and how it fuels the journey and figures in the tragedy of hope turned dystopia. It is finally argued that, despite an original depiction of migration and refugee lives in limbo, Roadblocks screens explosive violence and imminent tragedy maintaining refugee lives in a perpetual state of crisis.

scholarly journals Negotiations of In/Visibility: Surveillance in Hito Steyerl’s How Not to be Seen

2021 ◽  
Vol 19 (1) ◽  
pp. 69-80
Author(s):  
Joachim Friis
Keyword(s):  
Data Extraction ◽  
Analytical Theory ◽  
Discursive Practice ◽  
World Picture ◽  
Documentary Fiction ◽  
The Face ◽  
Looking Back ◽  
Historical References

In this paper, I analyze Hito Steyerl’s artwork How Not to be Seen: A Fucking Didactic Educational .MOV File (2013) from the perspective of surveillance. Looking back at one of the most influential artworks of the last decade, I understand How Not to be Seen as a discursive practice using images that poses an ambivalent surveillance critique through media- and wordplay. I first outline the historical references of Steyerl’s critique of technology, including Heidegger’s (1938) “image as world picture,” and position her in relation to other relevant surveillance-resistant practices. Drawing on analytical theory by Rancière (2006), I argue that the video is an example of a documentary fiction that organizes heterogenous visual, semiotic, and sensory material horizontally. From here, I move on to analyze the artwork focusing on how in both its content and form it engages humorously in discussions of (in)visibility, targeting, resolution, and data extraction. Using discourses on Steyerl’s work from herself and others, I show how the .MOV file, in playing with representational media, subverts categories used for surveillant targeting and data extraction. Hence, I argue that Steyerl ultimately advocates for resistance through ambivalence as a playful counter-visuality in the face of ubiquitous surveillance. In an era of intelligent imagery, this implicates using the image as an object that is part of the medium and not as subject representation.

'Provoking situations': Abderrahmane Sissako's documentary fiction

2011 ◽  
Vol 3 (1) ◽  
pp. 93-108
Author(s):  
Alison Murray J. Levine
Keyword(s):  
Documentary Fiction
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