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Docufictio

Docufictio (cum docudramate non confundenda) est cinematographica pelliculae documentariae et fictionis coniunctio,[1] genus pellicularum[2] quod realitatem ut vere est (cinema directum vel cinéma vérité) capere conatur et simul elementa irrealia vel condiciones fictionales in narrationem introducit ut repraesentatione realitatis per certam expressionem artificiosam confirmet. Docufictio disertius est documentarium elementis fictis contaminatum,[3] per tempus reale captum,[4] cum eventus fiant, et in quo aliquis—persona argumenti pelliculae—personam suam in vita reali agit.

Neologismus docufictio,[5] qui saeculo vicensimo uno ineunte apparuit, nunc in nonnullis linguis adhibetur et late pro classificatione ab internationalibus feriis pellicularibus accipitur.[6][7][8][9][10][11][12][13] Docufictio, vel in cinemateo vel televisione visa, est genus pellicularum primo decennio saeculi vicensimi primi plene evolutum. Verbum docufictio aliquando ad litterarias diurnariorum artes spectare (nonfictio creativa) usurpatur.[14]

Origines

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Vocabulum modus pellicularum ab auctoribus Roberto J. Flaherty, uno ex patribus documentariorum,[15][16] et Ioanne Rouch saeculo vicensimo recentiore factarum. In anthropologia oculorum, innovans Ioannis Rouch persona[17] sinit ut is pater subgeneris ethnofictionis appelletur.[18][19] Hoc vocabulum significat 'pellicula documentaria ethnographica indigenarum qui partes fictionales agunt'. Facere ut ei partes de se ipsis agant realitatem depingere adiuvabit,[20] quod per imagines ante oculos propositas confirmabitur. Documentarium non ethnographicum elementa ficta habens eadem ratione utitur, et ob easdem causas docufictio appellari potest.

Primae docufictiones per civitatem digestae

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Nexus interni

Notae

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  1. ↑ Realitas et documentarium, in Girish Shambu, "Six Types Of Documentary," (blog).
  2. ↑ Daniel Chandler, "An Introduction to Genre Theory," Aberystwyth University.
  3. ↑ Laura Marchesi, Il difficile rapporto tra fiction e non fiction che si concretizza nella docu-fiction, thesis, Facultas Scientiarum Communicationis (Università degli Studi di Pavia), apud Tesionline, 2005/06.
  4. ↑ Tay Huizhen Docufiction in the Digital Age, thesis, [1], National University of Singapore.
  5. ↑ Theo Mäusli, Pars II, pp 37–75 (capitula quattuor).
  6. ↑ Indie Matra Bhumi, The Motherland, Cannes Film Festival.
  7. ↑ Docufictio Ablel Ferrara, Venice Film Festival.
  8. ↑ The Savage Eye: White Docu-Fiction & Black Reality, in Tribeca Film Festival.
  9. ↑ Brian De Palma's On His Iraq Docu-Fiction Comeback, in The Huffington Post, in Toronto Film Festival et Venice Film Festival.
  10. ↑ Diamond 33, pellicula Darii Mehrjui, in Venice Film Festival.
  11. ↑ New Film Events, in London Short Film Festival.
  12. ↑ Oscilloscope 'Howl' for Off Beat Docu-Fiction Sundance Selection, in Ion Cinema.
  13. ↑ Docufiction, www.vivacinema.it.
  14. ↑ Tate Triennial 2009: Altermodern - 'Docufiction'.
  15. ↑ Definition of documentary – New Frontiers in American documentary, American Studies at The University of Virginia.
  16. ↑ The Impulse of Documentary-Fiction, Transart Institute.
  17. ↑ Jean Rouch 1917-2004, A Valediction, commentarius Michaelis Eaton in Rouge.
  18. ↑ Glossary at maitres_fous.netT.
  19. ↑ Brian Quist, Jean Rouch and the Genesis of Ethnofiction, thesis, Long Island University.
  20. ↑ Johannes Sjöberg, "Ethnofiction: drama as a creative research practice in ethnographic film," Journal of Media Practice 9(3), eScholarID:1b5648.
  21. ↑ Vide Maria do Mar in IMdb.
  22. ↑ Vide L'Or des mers in IMdb.
  23. ↑ Vide recognitionem in New York Times (1991): "Zombie and the Ghost Train: Review/Film Festival; How a Zombie Became One With Alcohol and Self-Pity."

Bibliographia

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Nexus externi

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