Documentary film as historical narrative

Artificial, Natural, Historical: Ambiguities of Synthetic Sound in Documentary Film

This paper discusses the role of synthetic sound in the construction of authenticity and historicity of documentary film in the light of the documentary “All that we have” [9] and its making. It argues that the delimitation between the “natural” and the “artificial” constitutes a key element in the reflection on documentary film sound. After a general inquiry of cinematic sound (part 1 and 2) i...

When is Fiction as Good as Fact? Comparing the Influence of Documentary and Historical Reenactment Films on Engagement, Affect, Issue Interest, and Learning

This study advances documentary film effects research by comparing the influence of a political documentary with a historical reenactment film on narrative engagement, affect, learning, and interest. Using the Rwandan genocide as a context of study, a documentary film, The Triumph of Evil, and the historical reenactment fictional film,Hotel Rwanda, were examined. Results revealed significant di...

Videoblogs as " Collective Documentary "

Blogging has been a textual activity, but text is only one aspects of the diverse skills which are needed in order to understand and manage different aspects of modern communication. Broadband connections are likely to stimulate a rapid increase in audio-visual services on the web, presumably changing the future conditions for blogging. Videoblogs can facilitate practices which promote media li...

A Canadian perspective on documentary film: Drug Addict.

BACKGROUND In 1948 the first National Film Board (NFB) documentary in Canada about illegal drugs, trafficking, and addiction was produced. The documentary is titled Drug Addict, and was directed by Robert Anderson. This paper provides a socio-historical context for the documentary Drug Addict. Viewing the film through the lens of Canadian history gives readers a better context to understand the...

A Review of the documentary film Shugendō Now