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{{For|documentary fiction relating to novels|Historical fiction}} {{For|documentary fiction relating to novels|Historical fiction}}{{Distinguish|Docudrama}}{{short description|Film genre}}
], by Robert Flaherty, the first docufiction in film history (1926)]] ]'', by ], an early example of docufiction (1926)]]
'''Docufiction''' (or '''docu-fiction'''), often confused with ], is the cinematographic combination of ] and ], this term often meaning ].<ref> – at Six Types Of Documentary, article by Girish Shambu (blog)</ref>


It is a ]<ref> {{webarchive |url=https://web.archive.org/web/20111118185337/http://www.aber.ac.uk/media/Documents/intgenre/intgenre7.html |date=November 18, 2011 }} by ] at </ref> which attempts to capture reality such as it is (as ] or ]) and which simultaneously introduces unreal elements or fictional situations in ] in order to strengthen the representation of reality using some kind of ].<ref> – article by Peter Biesterfeld at , 08/07/2015</ref> '''Docufiction''' (or '''docu-fiction''') is the cinematographic combination of ] and ], this term often meaning ]. It is a ]<ref> {{webarchive |url=https://web.archive.org/web/20111118185337/http://www.aber.ac.uk/media/Documents/intgenre/intgenre7.html |date=November 18, 2011 }} by ] at </ref> which attempts to capture reality such as it is (as ] or ]) and which simultaneously introduces unreal elements or fictional situations in ] in order to strengthen the representation of reality using some kind of ].<ref> – article by Peter Biesterfeld at , 08/07/2015</ref>


More precisely, it is a documentary contaminated with fictional elements,<ref> (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 , 2005/06</ref> in ],<ref>, – Thesis by , National University of Singapore</ref> filmed when the events take place, and in which the main ] 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 ] format, but the terms are not synonymous. More precisely, it is a documentary mixed with fictional elements,<ref> (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 , 2005/06</ref> in ], filmed when the events take place, and in which the main ] 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 ] format, but the terms are not synonymous.


A film genre in expansion, it is adopted by a number of ] filmmakers. A film genre in expansion, it is adopted by a number of ] filmmakers.{{Citation needed|date=January 2022}}


The ] docufiction<ref>What is docufiction? – See {{webarchive |url=https://web.archive.org/web/20110911104733/http://www.bul.unisi.ch/cerca/bul/memorie/com/pdf/9900Candeloro.pdf |date=September 11, 2011 }} of the thesis by Prof. Theo Mäusli</ref> 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.<ref>] ( – ]</ref><ref> {{webarchive |url=https://web.archive.org/web/20120119000831/http://en.daringtodo.com/?p=4178 |date=January 19, 2012 }} – ]</ref><ref> {{webarchive |url=https://web.archive.org/web/20110913091103/http://www.redchannels.org/screenings/2010/quiet_one.html |date=September 13, 2011 }} at </ref><ref> at – ] and Venice Film Festival</ref><ref>] – ]</ref><ref> – ]</ref><ref> {{webarchive |url=https://web.archive.org/web/20111227172219/http://www.ioncinema.com/news/id/5095/oscilloscope-howl-for-off-beat-docu-fiction-sundance-selection |date=December 27, 2011 }} at </ref><ref> at several film festivals</ref><ref>See: Hybrids (fiction/nonfiction films) at External links</ref> Either in cinema or television, docufiction is, anyway, a ] in full development during the first decade of this century. The ] docufiction<ref>What is docufiction? – See {{webarchive |url=https://web.archive.org/web/20110911104733/http://www.bul.unisi.ch/cerca/bul/memorie/com/pdf/9900Candeloro.pdf |date=September 11, 2011 }} of the thesis by Prof. Theo Mäusli</ref> 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.<ref>] ( – ]</ref><ref> {{webarchive |url=https://web.archive.org/web/20120119000831/http://en.daringtodo.com/?p=4178 |date=January 19, 2012 }} – ]</ref><ref>{{usurped|1=}} at </ref><ref> at – ] and Venice Film Festival</ref><ref>] – ]</ref><ref> – ]</ref><ref> {{webarchive |url=https://web.archive.org/web/20111227172219/http://www.ioncinema.com/news/id/5095/oscilloscope-howl-for-off-beat-docu-fiction-sundance-selection |date=December 27, 2011 }} at </ref><ref> {{Webarchive|url=https://web.archive.org/web/20110901125818/http://www.vivacinema.it/s/docu-fiction/ |date=2011-09-01 }} at several film festivals</ref><ref>See: Hybrids (fiction/nonfiction films) at External links</ref>


]]]
The word docufiction is also sometimes used to refer to literary journalism (]).<ref></ref>


==Origins==
==Docudrama and mockumentary==
The term involves a way of making films already practiced by such authors as ], one of the fathers of documentary,<ref> (American Studies at The University of Virginia)</ref><ref> {{webarchive|url=https://web.archive.org/web/20120319052930/http://www.transartinstitute.org/Example_Papers.html |date=March 19, 2012 }} – Paper at {{webarchive|url=https://web.archive.org/web/20110831101542/http://transartinstitute.org/About.html |date=2011-08-31 }}</ref> and ], later in the 20th century.
In contrast, ] is usually a fictional and dramatized recreation<ref>See – Page 2 on the thesis by Çiçek Coşkun (New York University School of Education)</ref> of factual events in form of a documentary, at a time subsequent to the "real" events it portrays. A docudrama is often confused with ''docufiction'' when ] is considered interchangeable with ] (both words meaning the same). Typically however, "docudrama" refers specifically to ] or other television media recreations that dramatize certain events often with ]s.


Being both ] and ],<ref> {{Webarchive|url=https://web.archive.org/web/20120325153902/http://www.avila.edu/journal/fall03/StonePaper.htm |date=2012-03-25 }} – Paper by Tammy Stone, </ref> docufiction is a ] genre,<ref>See {{webarchive |url=https://web.archive.org/web/20110911104733/http://www.bul.unisi.ch/cerca/bul/memorie/com/pdf/9900Candeloro.pdf |date=September 11, 2011 }} – page 50, thesis on docufiction by Prof. Theo Mäusli</ref> raising ] problems<ref name="latineos1"> – article by Luciana Lang at </ref><ref> at </ref><ref> – Article by ] at (American University in Washington, D.C.)</ref><ref> – Article by ] at Cultural Studies Program, Trent University, Peterborough, Ontario, Canada, published </ref><ref> {{Webarchive|url=https://web.archive.org/web/20120323061134/http://www.documentary.org/content/what-do-about-documentary-distortion-toward-code-ethics-0 |date=2012-03-23 }} – Article by ] at </ref><ref> – Paper by ] at </ref><ref> {{Webarchive|url=https://web.archive.org/web/20210513163142/http://www.uniteforsight.org/global-health-university/filmmaking |date=2021-05-13 }} at </ref> concerning ], since reality may be manipulated and confused with fiction (see ] at ]).
A ] (]: mock documentary)<ref>From "mock + documentary" – definition at The Free Dictionary</ref> 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 ], typically satirical, comedic or even dramatic.<ref>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</ref> 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 ]al dialogue and character development.


In the domain of ], the innovating role of Jean Rouch<ref> – Article by ] at </ref> allows one to consider him as the father of a subgenre called ].<ref> at MAITRES_FOUS.NET</ref><ref>Jean Rouch and the Genesis of Ethnofiction, thesis by Brian Quist, Long Island University</ref> This term means: ] documentary film with natives who play fictional roles. Making them play a role about themselves will help portray reality, which<ref>"Ethnofiction: drama as a creative research practice in ethnographic film." Journal of Media Practice 9, no. 3(2008), eScholarID:1b5648, article by Johannes Sjöberg</ref> will be reinforced with ]. A non-ethnographic ] with fictional elements uses the same method and, for the same reasons, may be called docufiction.
==Origins==
The term involves a way of making films already practiced by such authors as ], one of the fathers of documentary,<ref> (American Studies at The University of Virginia)</ref><ref> {{webarchive|url=https://web.archive.org/web/20120319052930/http://www.transartinstitute.org/Example_Papers.html |date=March 19, 2012 }} – Paper at {{webarchive|url=https://web.archive.org/web/20110831101542/http://transartinstitute.org/About.html |date=2011-08-31 }}</ref> and ], later in the 20th century.


==Docudrama and mockumentary==
Being both ] and ],<ref> – Paper by Tammy Stone, </ref> docufiction is a ] genre,<ref>See {{webarchive |url=https://web.archive.org/web/20110911104733/http://www.bul.unisi.ch/cerca/bul/memorie/com/pdf/9900Candeloro.pdf |date=September 11, 2011 }} – page 50, thesis on docufiction by Prof. Theo Mäusli</ref> raising ] problems<ref name="latineos1"> – article by Luciana Lang at </ref><ref> at </ref><ref> – Article by ] at (American University in Washington, D.C)</ref><ref> – Article by ] at Cultural Studies Program, Trent University, Peterborough, Ontario, Canada, published </ref><ref> – Article by ] at </ref><ref> – Paper by ] at </ref><ref> at </ref> concerning ], since reality may be manipulated and confused with fiction (see ] at ]).
In contrast, ] is usually a dramatized recreation of factual events in form of a documentary, at a time subsequent to the "real" events it portrays.<ref>See – Page 2 on the thesis by Çiçek Coşkun (New York University School of Education)</ref> 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|date=January 2022}}


A ] 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 ], typically satirical, comedic or even dramatic.<ref>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</ref> 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 ]al dialogue and character development.
In the domain of ], the innovating role of Jean Rouch<ref> – Article by ] at </ref> allows one to consider him as the father of a subgenre called ].<ref> at MAITRES_FOUS.NET</ref><ref>Jean Rouch and the Genesis of Ethnofiction, thesis by Brian Quist, Long Island University</ref> This term means: ] documentary film with natives who play fictional roles. Making them play a role about themselves will help portray reality, which<ref>"Ethnofiction: drama as a creative research practice in ethnographic film." Journal of Media Practice 9, no. 3(2008), eScholarID:1b5648, article by Johannes Sjöberg</ref> will be reinforced with ]. A non ethnographic ] with fictional elements uses the same method and, for the same reasons, may be called docufiction.


==First docufictions by country== ==First docufictions by country==
*1926: ''']''' – '']''<ref> – article by Laya Maheshwari at Indiewire, July 3, 2014</ref> ],<ref>Note, however, that Flaherty's earlier film, ] from 1922, incorporates many docufiction elements, including the "casting" of locals into fictitious "roles" and family relationships, as well as anachronistic hunting scenes.</ref> * 1926: ''']''' – '']''<ref> – article by Laya Maheshwari at Indiewire, July 3, 2014</ref> by ]<ref>Note, however, that Flaherty's earlier film, ] from 1922, incorporates many docufiction elements, including the "casting" of locals into fictitious "roles" and family relationships, as well as anachronistic hunting scenes</ref>
*1930: ''']''' – '']''<ref>See at IMdb</ref> by ] * 1930: ''']''' – '']'' by ]<ref> at IMdb</ref>
*1932: ''']''' – '']''<ref>See </ref> by ] * 1930: ''']''' - '']'' by ] and ]
*1948: ''']''' – '']'' by ] * 1932: ''']''' – '']'' by ]<ref></ref>
*1952: ''']''' – '']'' by ] * 1948: ''']''' – '']'' by ]
*1963: ''']''' – '']'' (''Of Whales, the Moon and Men'') by ] and ] * 1952: ''']''' – '']'' by ]
* 1963: ''']''' – '']'' (''Of Whales, the Moon and Men'') by ] and ]
*1981: ''']''' – '']'' (fr) by ] * 1981: ''']''' – '']'' by ]
*1988: ''']''' – '']'' (Death denied) by ] * 1988: ''']''' – '']'' (Death denied) by ]
*1990: ''']''' – '']'' by ] * 1990: ''']''' – '']'' by ]
*1991: ''']''' – '']'' by ] (See review at NYT<ref></ref>) * 1991: ''']''' – '']'' by ]<ref></ref>
*2002: ''']''' – '']'' by ] and ] * 2002: ''']''' – '']'' by ] and ]<ref> – article by , NY Times, January 17, 2003</ref>
* 2005: ''']''' – '']'' by ]<ref> – review by , November 5, 2013</ref><ref> review by Salar Jaff and Ned Parker at Los Angeles Times, June 23, 2011</ref>
*2005: ''']''' – '']'' by ]


== Other notable examples == == Other notable examples ==
* 1927: '']'' by ] and ] (US)<ref name="BP-20190721">{{cite news |last1=Biggs |first1=Andrew |title=What's past is prologue |url=https://www.bangkokpost.com/life/social-and-lifestyle/1716191/whats-past-is-prologue |quote=pseudo-documentary |access-date=November 17, 2024 |work=Bangkok Post |date=July 21, 2019 |archive-url=https://web.archive.org/web/20231011025026/https://www.bangkokpost.com/life/social-and-lifestyle/1716191/whats-past-is-prologue |archive-date=2023-10-11 |url-status=live }}</ref>
*1931: '']'' by ] and ] (USA)
* 1931: '']'' by ] and ] (US)<ref>{{cite news | url=https://www.theguardian.com/film/2013/jul/21/tabu-murnau-classic-dvd | title=Tabu | newspaper=The Guardian | date=20 July 2013 | last1=French | first1=Philip }}</ref>
*1934: '']'' by Robert Flaherty (USA)
* 1934: '']'' by Robert Flaherty (US)<ref>{{Cite news |date=3 August 2016 |title=Robert J. Flaherty, Who Blurred the Line Between Nonfiction and Fiction in Film |work=NY Times |url=https://www.nytimes.com/2016/08/07/movies/robert-j-flaherty-who-blurred-the-line-between-nonfiction-and-fiction-in-film.html}}</ref>
*1942: '']'' by ] (Portugal)
* 1942: '']'' by ] (Portugal)<ref> at </ref>
*1948: '']'' by Robert Flaherty (USA)
* 1948: '']'' by Robert Flaherty (US)<ref>{{Cite news |last=Crowther |first=Bosley |date=1948-09-29 |title=' Luisiana Story,' a Flaherty Film About a Boy in the Bayou Country, at the Sutton |language=en |work=NY Times |url=https://www.nytimes.com/1948/09/29/archives/-luisiana-story-a-flaherty-film-about-a-boy-in-the-bayou-country-at.html}}</ref>
*1956: '']'' by ] (USA)
* 1956: '']'' by ] (US)<ref> – article by , February 24, 2012</ref><ref> – article by {{Webarchive|url=https://web.archive.org/web/20180427081945/https://www.chicagoreader.com/chicago/ArticleArchives?author=866632 |date=2018-04-27 }} at the Chicago Reader, February 16, 2012</ref>
*1958: '']'' (Me, A Black Man) by ] (France)
* 1958: ''] by ] (US)<ref>{{Cite web|url=http://www.cbc.ca/fifth/cruelcamera/fakery.html|title=Cruel Camera, FAKERY in Wildlife Documentaries|at=event of 1958|series=CBC news, the fifth estate|date=2008-11-26|website=Canadian Broadcasting Corporation|archive-url=https://web.archive.org/web/20090131072142/http://www.cbc.ca/fifth/cruelcamera/fakery.html|archive-date=2009-01-31|url-status=dead}}</ref>
*1958/59 '']'' (The Motherland)<ref>{{cite web|url=http://cine-file.info/ccf/india.html |title=Chicago Cinema Forum |publisher=Cine-file.info |date=2007-08-29 |accessdate=2012-08-29}}</ref><ref> {{webarchive |url=https://web.archive.org/web/20080905085934/http://filmjourney.weblogger.com/2007/03/18/india-matri-bhumi-1958/ |date=September 5, 2008 }} – Article by ] at (March 18th, 2007)</ref><ref> – Article at IBN Live</ref> by ], released<ref>{{cite web |last=Christopher |first=Rob |url=http://chicagoist.com/tags/lucgodard |title=Q: What Do You Call a Movie That's Getting Its Chicago Premiere 48 Years After Being Made? |publisher=Chicagoist |date=2007-08-29 |accessdate=2012-08-29 }}{{dead link|date=November 2017 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> 2007 (Italy)
* 1958: '']'' (Me, A Black Man) by ] (France)<ref> {{Webarchive|url=https://web.archive.org/web/20180428011622/https://www.questia.com/magazine/1G1-434412736/the-film-is-the-search-j-hoberman-on-jean-rouch-s |date=2018-04-28 }} – article by J. Hoberman, Artforum International, November 2015</ref>
*1959: '']'' by Lionel Rogosin (USA)
* 1959 '']'' (The Motherland)<ref>{{cite web|url=http://cine-file.info/ccf/india.html |title=Chicago Cinema Forum |publisher=Cine-file.info |date=2007-08-29 |access-date=2012-08-29}}</ref><ref> {{webarchive|url=https://web.archive.org/web/20080905085934/http://filmjourney.weblogger.com/2007/03/18/india-matri-bhumi-1958/|date=September 5, 2008}} – Article by ] at {{Webarchive|url=https://web.archive.org/web/20151029182855/http://filmjourney.weblogger.com/|date=2015-10-29}} (March 18th, 2007)</ref><ref> – Article at IBN Live</ref> by ], released<ref>{{cite web |last=Christopher |first=Rob |url=http://chicagoist.com/tags/lucgodard |archive-url=https://archive.today/20130628211510/http://chicagoist.com/tags/lucgodard |url-status=dead |archive-date=2013-06-28 |title=Q: What Do You Call a Movie That's Getting Its Chicago Premiere 48 Years After Being Made? |publisher=Chicagoist |date=2007-08-29 |access-date=2012-08-29 }}</ref> 2007 (Italy)
*1961: '']'' (The Human Pyramid)<ref> at IMdb.</ref> by Jean Rouch (France)
* 1959: '']'' by Lionel Rogosin (US)<ref>{{cite journal | url=https://muse.jhu.edu/article/579603/summary | title=Come Back, Africa: The Films of Lionel Rogosin, Volume II (Review) | journal=The Moving Image | year=2014 | volume=14 | issue=2 | pages=118–120 | last1=McClune | first1=Caitlin }}</ref>
*1962: '']''<ref>See </ref> by ] (Portugal)
* 1961: '']'' by Jean Rouch (The Human Pyramid)<ref> at IMdb.</ref> (France)
*1964: '']'' by ] (Portugal)
* 1962: '']'' by ]<ref>See </ref> (Portugal)
*1967: '']'' by ]
* 1964: '']'' by ] (Portugal)<ref> – reference note at </ref>
*1970: '']'' by ]<ref> – article at </ref><ref> by Jamie Havlin at </ref><ref> at </ref>
* 1967: '']'' by ] (US)<ref> – review by at , June 13, 2011</ref>
*1973: '']''<ref>See at IMdb</ref> by ] (Italy)
* 1970: '']'' by ] (Italy)<ref> – article at </ref><ref> by Jamie Havlin at </ref><ref> at </ref>
*1974: '']'', by ]
* 1973: '']'' by ] (Italy)<ref> at IMdb</ref>
*1974: '']'', by ]
* 1974: ''] (Les Ordres)'', by ] (Canada)<ref> – article by at , April 14, 2017</ref>
*1976: '']'', by ] (Portugal)
* 1974: '']'', by ] (Canada)<ref> – article by , Soho News, June 18, 1980</ref>
*1976: '']''<ref>See </ref> by ] (Portugal)
*1976: '']''<ref> at </ref> by ] and ]<ref>]]</ref> (Portugal) * 1976: '']'' (Portugal)<ref> {{Webarchive|url=https://web.archive.org/web/20121002023424/http://hcl.harvard.edu/hfa/films/2012aprjun/reis.html#tras |date=2012-10-02 }} at {{Webarchive|url=https://web.archive.org/web/20121231205620/http://hcl.harvard.edu/hfa/ |date=2012-12-31 }} by ] and ]</ref><ref>]</ref>
* 1982: '']'' by ] and Margarida Cordeiro (Portugal)<ref> {{Webarchive|url=https://web.archive.org/web/20140712182605/http://www.thelmagazine.com/newyork/rep-pick-ana/Content?oid=2239579|date=2014-07-12}} – Review by ] at The L Magazine</ref>
*1979: '']'' by ] (Portugal)
* 1982: '']'', by ] (Canada)<ref> at ]</ref><ref> – reference note with film online by Sturla Gunnarsson, ]</ref>
*1982: '']''<ref> – Review by ] at The L Magazine</ref> by ] and Margarida Cordeiro (Portugal)
* 1984: '']'' by ] and ] (Canada)<ref> - reference note with film online by and , ]</ref>
*1982: '']'', by ] (Canada)
* 1985: '']'' by Giles Walker (Canada)<ref> – review by , NY Times, 1986</ref>
*1984: '']'' by ] and ] (Canada)
* 1986: '']'' by John N. Smith (Canada)<ref> – reference note with film at </ref>
*1985: '']'' by Giles Walker (Canada)
* 1987: '']'' by Giles Walker (Canada)<ref> – commentary by , December 2012</ref>
*1986: '']'' by John N. Smith (Canada)
* 1987: '']'' by John N. Smith (Canada)<ref> – reference note at </ref><ref> at the </ref>
*1987: '']'' by Giles Walker (Canada)
* 1989: '']'' by John N. Smith (Canada)<ref> – reference note by at with film online</ref>
*1987: '']'' by John N. Smith (Canada)
* 1990: '']'' by ] (Canada)<ref> {{Webarchive|url=https://web.archive.org/web/20180428093546/http://workforall.nfb.ca/film/company_of_strangers/ |date=2018-04-28 }} – reference note at with film for download</ref>
*1989: '']'' by John N. Smith (Canada)
* 1991: '']'' by ] (Iran)<ref> – review by {{Webarchive|url=https://web.archive.org/web/20180626082236/http://inreviewonline.com/category/the-writers/writer-tina-hassannia/ |date=2018-06-26 }} at , September 5, 2011</ref>
*1990: '']'' by ] (Canada)
* 2000: '']'' by ] (Portugal)<ref> – review by at , July 5, 2007</ref><ref> – review by ] at </ref>
*1991: '']'' by ] (Iran)
* 2002: '']'' by ] (Iran)<ref> – review by ], April 11, 2003</ref><ref> – review by ], The Guardian, 27 Sep 2002</ref><ref> – review by at ], December 2003</ref>
*2000: '']'' by ] (Portugal)
* 2006: '']'' by Pedro Costa (Portugal)<ref> review by ], NY Times, August 3, 2007</ref><ref> – review by , April 29, 2008</ref>
*2002: '']'' by ] (Iran)
* 2007: '']'' by Ousala Aleem (US)<ref> review by Logan Hill, NY Magazine, January 7, 2008</ref><ref> – review by , January 7, 2008</ref>
*2005: '']'' by ] (USA)
* 2008: '']'' by ] (Portugal)<ref> – review by ] at The Guardian, January 28, 2018</ref><ref> – review by at , September 7, 2010</ref>
*2006: '']'' by Pedro Costa (Portugal)
* 2009: '']'' by ] (Canada)<ref name=meditation>"A meditation on what it means to be marginal". '']'', May 29, 2009.</ref>
*2008: '']'' by ] (Portugal)
*2009: '']'' by Pietro Marcello (Italy) * 2009: '']'' by ] (Italy)<ref> – review by ], August 3, 2011</ref><ref> – review by ] at ], October 14, 2010</ref>
* 2013: '']'' by ] and ] (Iran)<ref> – review by ], The Guardian, September 6, 2015</ref><ref> – review by Christopher Bell at ], July 10, 2014</ref>
*2013: '']'' by ] and ] (Iran)
* 2015: '']'' by ] (Iran)<ref>{{cite news | url=https://www.theguardian.com/film/2015/nov/01/taxi-tehran-review-admirable-jafar-panahi-takes-to-the-streets | title=Taxi Tehran review – Jafar Panahi's joy ride | newspaper=The Observer | date=November 1, 2015 | last1=Romney | first1=Jonathan }}</ref><ref> – review by ], New Yorker, October 13, 2015</ref>
*2015: '']'' by ] (Iran)
* 2016: '']'' by ] (Canada)<ref>. ''Films du Québec'', March 2, 2017</ref>
*2016: '']'' by ] (Portugal)
* 2018: '']'' by ] and ] (Canada)<ref>. '']'', April 6, 2019</ref>
*2017: '''' (Arribas) by ] (Portugal)
* 2019: '']'' by ] (US)

* 2023: '']'' by ] (US)
See more at
*''']'''
*''']''' (Categories)

== Hybrid pictures ==
Filmic depictions of ethnic groups became a current practice since Flaherty shot '']'' in 1922 (the first ] documentary in film history, a docudrama) and since, under its influence, Jean Rouch pioneered ] with '']'' (1958, foreshadowing the ]). This term was coined by him at the end of the decade of 1990, when he led film sessions at the ] in Paris, together with ] and ] <ref>, journalist, anthropologist and film programmer</ref>. The use of the word ethnofiction was suggested by Ahounou to designate a new genre in ] and accepted by Rouch and Dieterlen.

Subsequently, the concept of ethnofiction (ethnography+fiction) would exceed scientific practice and, by analogy, give rise to a wider designation (docufiction: documentary+fiction) in which ethnofiction would be ranged as ]. Docufiction would then be used to classify films that early emerged in several countries, directly under Flaherty’s influence or indirectly by occasional resemblance, in both cases with no correlation and with significant differences in ] and ]. On one hand ] became one of the criteria that joined documentary and fiction in a single ]. <ref> – Abstract at Eleanorforder, August 7, 2014</ref> On the other hand, persons playing their own roles in ] and in ] is another that gave basement to it. Both these requirements are closely associated with two other in the practice of docufiction: 1. ]<ref> – chapter one from Introduction to Documentary by ], Indiana University Press</ref> and ],<ref> defined by Encyclopædia Britannica</ref> i.e., fidelity to ] and ],<ref> {{webarchive |url=https://web.archive.org/web/20151126053044/http://www.frieze.com/issue/article/reality_in_the_age_of_aesthetics/ |date=November 26, 2015 }} – Article at , Issue 114, April 2008</ref><ref> – Article by Kate Nash, Journal of Mass Media Ethics, 26:224–239, 2011</ref> 2. ]s and ]s, i.e., ] picturing facts in an illustrative or ] way, unveiling facets of human life.


==See also== ==See also==
{{portal|Film}}
{{colbegin}} {{colbegin}}
*] * ]
* ] – a dramatized documentary
*]
*] * ]
* ] – a parodical or humoristic fictional documentary * ] – a parodical or humoristic fictional documentary
* ] – a dramatized documentary
* ] – a fake documentary, often presented as real * ] – a fake documentary, often presented as real
* ] – a subgenre of ], in which parts of the contents are fictional and scripted * ] – a subgenre of ], in which parts of the contents are fictional and scripted
* ]
{{colend}} {{colend}}


==References== ==References==
{{reflist|colwidth=30em}} {{reflist|30em}}


==Sources and bibliography== ==Sources and bibliography==
THESES online THESES online
* {{en icon}} – thesis by Tay Huizhen, National University of Singapore * {{in lang|en}} – thesis by Tay Huizhen, National University of Singapore
* {{en icon}} – thesis by Clifford Derrick, Faculty of Arts, University of the Witwatersrand, Johannesburg * {{in lang|en}} – thesis by Clifford Derrick, Faculty of Arts, University of the Witwatersrand, Johannesburg
* {{en icon}} thesis by Çiçek Coşkun (New York University School of Education) * {{in lang|en}} thesis by Çiçek Coşkun (New York University School of Education)
* {{en icon}} by ] at Google Books (pages 1 to 34) * {{in lang|en}} by ] at Google Books (pages 1 to 34)


ARTICLES and ESSAYS ARTICLES and ESSAYS
* {{en icon}} – article by at , Media Department at ], Sydney * {{in lang|en}} – article by at , Media Department at ], Sydney
* {{en icon}} – Article by Julie Drizin at * {{in lang|en}} – Article by Julie Drizin at
* {{en icon}} – Paper by Gunthar Hartwig * {{in lang|en}} {{Webarchive|url=https://web.archive.org/web/20130721084417/http://www.gunthar.com/gatech/digital_documentary/Database_Documentary.pdf |date=2013-07-21 }} – Paper by Gunthar Hartwig
* {{en icon}} * {{in lang|en}}
* {{en icon}} at magazine * {{in lang|en}} at magazine
* {{en icon}} – article by , Consciousness, Literature and the Arts, vol. 16, no. 1, April 2015 * {{in lang|en}} – article by , Consciousness, Literature and the Arts, vol. 16, no. 1, April 2015
* {{en icon}} – paper by at , August 7, 2015 * {{in lang|en}} – paper by at , August 7, 2015
* {{en icon}} – article by at , September 17, 2012 * {{in lang|en}} – article by {{Webarchive|url=https://web.archive.org/web/20151208074309/http://thoughtleader.co.za/bertolivier |date=2015-12-08 }} at , September 17, 2012
---- ----
* {{fr icon}} – thesis by François Garçon (abstract in English and French) * {{in lang|fr}} – thesis by {{Ill|François Garçon|fr}} (abstract in English and French)
* {{fr icon}} – interview (Le Journal du CNRS) * {{in lang|fr}} – interview (Le Journal du CNRS)
* {{fr icon}} article at Critikat * {{in lang|fr}} article at Critikat
---- ----
* {{it icon}} by Laura Marchesi (thesis – abstract) * {{in lang|it}} by Laura Marchesi (thesis – abstract)


CITATIONS CITATIONS
* {{en icon}} {{cite book|title=No Other Way to Tell It. Dramadoc/docudrama on television|last=Paget|first=Derek|publisher=Manchester University Press|year=1998|isbn=978-0-7190-4533-2}} * {{in lang|en}} {{cite book|title=No Other Way to Tell It. Dramadoc/docudrama on television|last=Paget|first=Derek|publisher=Manchester University Press|year=1998|isbn=978-0-7190-4533-2|url-access=registration|url=https://archive.org/details/nootherwaytotell0000page}}
* {{en icon}} {{cite book|title=Why Docudrama? : Fact-Fiction on Film and TV |first=Alan|last=Rosenthal|publisher=Southern Illinois Press|location=Carbondale & Edwardsville |date=199|isbn=978-0-8093-2186-5}} * {{in lang|en}} {{cite book|title=Why Docudrama? : Fact-Fiction on Film and TV |first=Alan|last=Rosenthal|publisher=Southern Illinois Press|location=Carbondale & Edwardsville |date=199|isbn=978-0-8093-2186-5}}
* {{en icon}} {{cite book|title=Real Emotional Logic. Film and Television Docudrama As Persuasive Practice|editor1-last=Lipkin|editor1-first=Steven N.|publisher=Southern Illinois Press|location=Carbondale|year=2002|isbn=978-0-8093-2409-5}} * {{in lang|en}} {{cite book|title=Real Emotional Logic. Film and Television Docudrama As Persuasive Practice|editor1-last=Lipkin|editor1-first=Steven N.|publisher=Southern Illinois Press|location=Carbondale|year=2002|isbn=978-0-8093-2409-5}}


== External links == ==External links==
*{{Commonscatinline|Docufiction}}
'''Recent hybrid films''' since 2000 (comments)
* (2001) – by Cyril Neirat at
* (2003) – , March, 2011
* (2006) – by ] at ], August 3, 2007
* (2008) – by at The New York Times, August 20, 2010
* (2009) – by ] at The New York Times, August 3, 2011
* (2013) at
* (2015) – at ], November 2015


{{Narrative modes}} {{Narrative modes}}
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Latest revision as of 01:05, 22 December 2024

For documentary fiction relating to novels, see Historical fiction.Not to be confused with Docudrama.Film genre
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 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.

More precisely, it is a documentary mixed with fictional elements, 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.

The neologism docufiction 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.

Robert J. Flaherty

Origins

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

Being both fiction and documentary, docufiction is a hybrid genre, raising ethical problems 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 allows one to consider him as the father of a subgenre called ethnofiction. This term means: ethnographic documentary film with natives who play fictional roles. Making them play a role about themselves will help portray reality, which 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

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. While docudrama can be confused with docufiction, "docudrama" refers specifically to film or other television recreations that dramatize certain events, often with actors.

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. 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

Other notable examples

See also

References

  1. An Introduction to Genre Theory Archived November 18, 2011, at the Wayback Machine by Daniel Chandler at Aberystwyth University
  2. A creative treatment of actuality – article by Peter Biesterfeld at Videomaker, 08/07/2015
  3. Il difficile rapporto tra fiction e non fiction che si concretizza nella docu-fiction (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, 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) – 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
  8. Brian De Palma's On His Iraq Docu-Fiction Comeback at The Huffington Post – Toronto International Film Festival and Venice Film Festival
  9. Darius Mehrjui’s film Diamond 33 – Venice Film Festival
  10. New Film Events – 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
  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
  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 – article by Luciana Lang at Latineos
  19. The appeal of hybrid documentary forms in West Africa at Project Muse
  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 – Article by Garnet C. Butchart at Cultural Studies Program, Trent University, Peterborough, Ontario, Canada, published University of South Florida
  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
  23. Documentary Film Prompts-Ethics in Documentary/Fiction vs. Documentary – Paper by Ardavon Naimi at University of Texas at Dallas
  24. Ethics and Filmmaking in Developing Countries Archived 2021-05-13 at the Wayback Machine at Unite For Sight
  25. Jean Rouch 1917-2004, A Valediction – Article by Michael Eaton at Rouge
  26. Glossary 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 – 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 – 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 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
  36. Boys Soldiering in an Army of Crime – article by Stephen Holden, NY Times, January 17, 2003
  37. How the Arab Spring Changed the Arab Screen and Why You Need to Start Paying Attention – review by Ronan Doyle, November 5, 2013
  38. Trying to find beauty in the darkness of Iraq 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! at IMDb
  43. Crowther, Bosley (1948-09-29). "' Luisiana Story,' a Flaherty Film About a Boy in the Bayou Country, at the Sutton". NY Times.
  44. Out of the Bowery’s Shadows (Then Back In) – 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. 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. Archived from the original on 2013-06-28. Retrieved 2012-08-29.
  52. McClune, Caitlin (2014). "Come Back, Africa: The Films of Lionel Rogosin, Volume II (Review)". The Moving Image. 14 (2): 118–120.
  53. The Human Pyramid at IMdb.
  54. See Acto da Primavera
  55. Belarmino – reference note at Letterbox
  56. David Holzman's Diary – review by Jaime N. Christley at Slant Magazine, June 13, 2011
  57. I clowns: Fellini's Mockumentary – article at The Artifice
  58. Revue by Jamie Havlin at Louder than War
  59. Frames from scenes at MMM
  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 at The Globe and Mail, April 14, 2017
  62. Lives more interesting than movies – article by Don Shewey, 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. [http://www.cinema.ucla.edu/events/2012-07-06/films-and-legacy-antonio-reis-and-margarida-cordeiro António Reis and Margarida Cordeiro 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 at IMDb
  67. After the Axe – reference note with film online by Sturla Gunnarsson, National Film Board of Canada
  68. The Masculine Mystique - reference note with film online by John N. Smith and Giles Walker, National Film Board of Canada
  69. Screen: '90 Days,' Canadian comedy – 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, December 2012
  72. Train of Dreams – reference note at ONF
  73. Train of Dreams at the
  74. Welcome to Canada – reference note by John N. Smith at ONF with film online
  75. The Company of Strangers Archived 2018-04-28 at the Wayback Machine – reference note at ONF with film for download
  76. Life, and Nothing More – review by Tina Hassannia Archived 2018-06-26 at the Wayback Machine at Inreviewonline, September 5, 2011
  77. On the Knife’s Edge: Pedro Costa’s In Vanda’s Room – review by Travis Hoover at Slant Magazine, July 5, 2007
  78. In Vanda's Room – review by Richard Brody at The New Yorker
  79. Ten – review by Roger Ebert, April 11, 2003
  80. Ten – review by Peter Bradshaw, The Guardian, 27 Sep 2002
  81. Ten – review by Rolando Caputo at Senses of Cinema, December 2003
  82. Life, Assembled One Room at a Time review by Manohla Dargis, NY Times, August 3, 2007
  83. Colossal Youth is a colossal confusion – review by Samuel Wigley, April 29, 2008
  84. Criminals Gone Wild review by Logan Hill, NY Magazine, January 7, 2008
  85. Crime Porn (With Simulated Action) – review by , January 7, 2008
  86. Our Beloved Month of August – review by Peter Bradshaw at The Guardian, January 28, 2018
  87. film/review/our-beloved-month-of-august Our Beloved Month of August – review by Glenn Heath Jr. at Slant Magazine, September 7, 2010
  88. "A meditation on what it means to be marginal". Montreal Gazette, May 29, 2009.
  89. A Study of Time, Love and Decay in Genoa – review by Stephen Holden, August 3, 2011
  90. The Wolf's Mouth – review by Neil Young at The Hollywood Reporter, October 14, 2010
  91. Closed Curtain review – Iranian auteur confronts depression and creativity – review by Mark Kermode, The Guardian, September 6, 2015
  92. ‘Closed Curtain’ Directed8 by Jafar Panahi And Kambuzia Partovi – review by Christopher Bell at IndieWire, July 10, 2014
  93. Romney, Jonathan (November 1, 2015). "Taxi Tehran review – Jafar Panahi's joy ride". The Observer.
  94. Jafar Panahi’s Remarkable “Taxi” – review by Richard Brody, New Yorker, October 13, 2015
  95. "Tuktuq – Film de Robin Aubert". Films du Québec, March 2, 2017
  96. "«Mad Dog Labine»: irrésistiblement «rough»". Le Devoir, April 6, 2019

Sources and bibliography

THESES online

ARTICLES and ESSAYS

CITATIONS

External links

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